Starting with the arrows, you've done a good job of drawing them such that they flow smoothly and fluidly through space, although there are a couple issues I want to bring to your attention:

• Make sure you're compressing the gaps between the zigzagging sections as we look farther back to properly show the depth in the scene, as shown here.

• When adding line weight, be sure to do so with a confident stroke and avoid pressing too hard. When a mark is drawn with proper confidence, it'll generally taper on both ends, which helps it blend more smoothly into the existing linework, as shown here. The reason it tapers is because the pen is already moving even as it touches down or lifts up.

Moving onto your leaves exercise, I think you've done a good job of capturing the same sense of fluidity and motion, capturing not only how those leaves sit in space but also how they move through the space they occupy. Once again however, there are a few points that are worth discussing to help keep you on track:

• When adding more complex edge detail, avoid zigzagging a single stroke back and forth. In a number of areas you do appear to stick to this idea, adding little bumps onto the simpler existing structure, but there are still examples of places where you appear to be replacing the previous existing edge with a new, more complex one has seen here. Instead, as demonstrated in this section, we want to effectively only draw the parts that change, adding each individual 'bump' as a separate mark that rises off the previous simpler edge and returns to it.

• Taking things even further, this leaf appears to break away from that existing structure altogether, drawing a new leaf on top of the previous phase of construction. Construction is all about building things up one step at a time - no individual step itself will involve anything more than the simplest possible additions, but as we build them up using the previous phase as a scaffolding, we achieve overall complexity. You can see here where I've drawn over another student's work how we can build to a more complex result by introducing intermediary steps between our initial simple leaf footprint and the end result.

Continuing onto your branches, you're applying instructions correctly here, and I'm glad to see you extending those segments fully halfway to the next ellipse. One thing that can help you continue to improve in getting those segments to line up more smoothly and seamlessly is that when you veer off your intended path with a stroke, draw the next one such that it uses the previous one as a runway, overlapping its last section directly before shooting off to its own target. That is, instead of drawing the new stroke where the previous one ought to have been. This help us learn from those mistakes, by taking them into consideration.

Moving onto your plant constructions, overall you appear to be employing the principles of the lesson fairly well. You're drawing through your forms consistently (in most cases, at least), and in many areas you are building your constructions up step by step. Here are the main points I do want you to keep an eye on:

• On this page, you're running into one of the issues I pointed out in regards to your leaves exercise, where you're starting with the simple footprint of the leaf, and then jumping to far more complexity than can be reasonably supported by the scaffolding you already have available. Most of these simply need a few intermediary steps to build up to that complexity, but in circumstances where you need to build out entirely separate "arms" as their own leaves, then merge them all together as shown in this maple leaf demo, don't hesitate to do so.

• Here I definitely noticed some overzealousness when it comes to line weight. As discussed before, your line weight should be applied using the ghosting method, executing a single planned stroke with confidence. Here you appear to be scratching your way along, trying to trace the existing line, and as a result it ends up coming out quite stiff. Yes, drawing the mark more confidently will impede your accuracy, and while appropriate use of the planning and preparation phases of the ghosting method will improve control, you will make mistakes. But that's fine. Mistakes in accuracy will be reduced with practice, not by avoiding a confident execution altogether.

• Another point about line weight is that it should always be focused on clarifying specific overlaps between forms, and should not be added along the entire silhouette of a given form, or along the full length of a given line. Use it more sparingly.

• One more thing about line weight is that it is meant to be subtle. Line weight is like a whisper to the viewer's subconscious, which will pick up on slight relative changes in thickness of a line. Right now you're kind of shouting at the viewer's conscious brain with lines that jump significantly in thickness. This is more the realm of cast shadows, which are themselves subject to their own rules - like the fact that a cast shadow cannot wrap around the silhouette of another form, and must be cast upon another existing surface.

• When it comes to texture, I can see that you are focusing on employing cast shadow shapes - but there are definitely places where you're still falling back on making individual lines, and I think this is something you should avoid. By employing this two-step process (first outlining a shadow shape, then filling it in), it'll help us to avoid any reliance on making individual marks, while forcing us to really think about the textural form that casts a given shadow. Those shadows are all about understanding the relationship between the form casting it, and the surface it is cast upon, and when we can just put marks down without thinking through all of that, we often lose track of what we're trying to capture. Of course, that two-step process will also help you make shadow shapes that are cleaner than yours are currently.

All in all you do have a number of things to work on, but I think you should be good to move onto the next lesson. As such, I'll go ahead and mark this one as complete.