Starting with your arrows, these are very well done. You're drawing them with a great deal of confidence and capturing a strong sense of fluidity. This carries over into the leaves exercise as well, where you're doing an equally good job of establishing how they not only sit in space, but also how they move through the space they occupy.

When it comes to the more complex edge detail, there are a lot of places in which you're doing this correctly - building individual spikes or bumps or what have you onto the existing simple edge, but there are some areas where you're running into the mistake of zigzagging your edge details instead. This doesn't work as well because it creates a much looser relationship with the existing structure, and instead attempts to replace a part of it. Construction is all about solving small problems separately, rather than trying to solve many things at once - by building upon the existing structure, we don't have to worry about how the leaf moves through space, since that has already been established. All we're doing is judging the existing structure over a bit here and there, following the path already set out for us.

Continuing onto your branches, while you're headed in the right direction here, there are a few things I want you to remember:

• Draw through each of your ellipses two full times before lifting your pen, and use the ghosting method.

• Remember that the ellipses' degree should shift as it slides along the length of your branch form. If you don't remember why that is, there's an explanation of it in the updated ellipses video for lesson 1

• Make sure you extend each segment fully halfway to the next ellipse, as explained here. It helps achieve a smoother, more seamless transition from one segment to the next ,especially when you use that longer chunk as a runway, overlapping it directly instead of ignoring it and drawing where it ought to have been.

Moving onto your plant constructions, as a whole you're doing a decent job, but there are some areas of improvement that I can point out:

• When drawing your daisies, you started out with an ellipse. That's fine, but it's important to consider what the purpose of that ellipse is, as a tool when constructing your drawing. You treated it more as a sort of suggestion - but in constructional drawing, there are no loose, vague, explorative things that we can ignore when we choose. What we're building are scaffoldings - every mark solves a problem, and every one that follows must abide by the solution or answer given. In this case, the ellipse defines the perimeter to which all of the petals will be extending. That means that once in place, the flow lines for your individual petals must extend to that border. Then, when drawing the simple leaf/petal shape, it too should extend to the end of your flow line, because we've already given an answer to how long it should be.

• When drawing your hibiscus, you zigzagged your petal edges again - but this is something I've already addressed, so I won't get into it further.

• When following along with the potato plant demo, you left it unfinished - some areas cast shadows, others don't. Keep things consistent - if something's going to cast a shadow, logically speaking everything should.

• Speaking of cast shadows, in your lotus drawing, you've got some cast shadows but they appear not to entirely behave like cast shadows, because they cling along the silhouette of the form casting them. Remember that cast shadows fall upon another surface - in this case, the ground. The further away that surface is, the further the cast shadow will be from the form. Sometimes students confuse cast shadows with line weight (which does run along the silhouette of a form), but line weight is limited by their own restrictions, in that it must be kept subtle and light (like a whisper to the viewer's subconscious rather than a very obvious shout), and it is generally applied in limited, localized areas to clarify specific overlaps between forms. It should not be used to correct mistakes (something I noticed in a few other places), or really for any other purpose. These are each specific tools with their own particular purposes.

When it comes to the core construction of most of your forms, you are doing well, although I strongly recommend slowing down a bit, making sure that you're applying the ghosting method (putting your time into the planning and preparation phases before each mark is executed), and so on to ensure that each drawing is executed to the absolute best of your current ability.

I'll go ahead and mark this lesson as complete, so you may continue working on these points as you move onto the next lesson.