Hi there! So. Starting with your arrows, these are coming along quite well. You're drawing them with a good deal of confidence behind your strokes, which helps you achieve how each one flows fluidly through the world. This carries over nicely into your leaves, where you've not only established the way in which they each sit statically in the world, but also how they move through the space they occupy. I certainly would have liked to have seen more leaves that pushed beyond step 2 of this exercise. You appear to have only explored the addition of more complex edge detail with one of them, though it was done correctly in that it builds off the existing structure with the addition of a separate mark for every new bump. Just be sure to push each exercise to completion, as per its instructions, rather than stopping early. It's simply a missed opportunity for further practice, and for me to catch and correct other mistakes that could come up, were you to try to tackle the same problem in a different context.

Continuing onto your branches, you've done a great job of maintaining a consistent width throughout the length of each of these, which helps to maintain the simplicity and therefore the solidity of the structure. There are a few things to keep in mind for this exercise however:

• Be sure to extend each segment fully halfway to the next ellipse, as explained here. This helps us to achieve a more seamless, smoother transition from segment to segment.

• Remember that for every ellipse we freehand throughout this course, we are to draw around the elliptical shape two full times before lifting our pen, as discussed back in Lesson 1.

• Also as discussed in Lesson 1, specifically in the ellipses video, as we slide away from the viewer along a cylindrical structure, the degree of the elliptical cross-section should get wider. Right now they're all staying the same width, which stiffens the result considerably.

Moving onto your plant constructions, you've got some mixed results here. Your linework is still confident and well executed, and you're demonstrating excellent control - there are just some areas where you're not really applying the instructions from the lesson's earlier exercises.

One big example of this is how you handle more complex leaves/petals, like on the right side of this page, and the right side of this page. In both of these cases you're entirely skipping the 2nd step of the leaf construction approach, opting to jump straight into far more complex edge detail rather than building a simpler silhouette first. In doing so, you're attempting to tackle too many things all at once - both defining how the petal structure both flows through space, and how its edge complexity deviates from the basic flow of the petal itself. Construction is all about breaking the process into a series of steps, each governing its own more limited selection of problems, so those that follow can simply adhere to that structure instead of trying to do too much all at once.

Another point to keep in mind is that when you've got a lot of petals/leaves overlapping one another, like on the left side of this page, it's important to draw each form in its entirety, rather than cutting them off where they're hidden behind another. This helps us to better understand how each petal sits in space, and how they relate to one another within that three dimensional world. All of these drawings are, after all, just exercises in spatial reasoning, and in having your brain work through these 3D puzzles and develop the way in which it regards the 3D space existing beyond the flat surface of your page.

Circling back to the step-by-step nature of construction, make sure that every step of construction adheres tightly and specifically to the stages before it. For instance, if we look at the flowers on this page, both of these started out with an ellipse defining the boundary to which each petal would extend. With this decision already made, each subsequent flow line should then extend to the ellipse's perimeter and no further - because how long the petals would be was a decision that was already made when the ellipse was drawn.

I did mention this already in regards to your branches, but remember that for your flower pots, the end farther from the viewer (generally the base) will be wider than the end closer to the viewer.

The last thing I wanted to call out is that when you get to the detail phase of a drawing, remember that as these drawings are all just exercises, our focus does not shift to more arbitrary decoration, or of making our drawings more impressive or interesting to look at. Instead, what we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice. So, remember that textural marks all exist in relation to the specific, 3D forms they're attempting to imply. Each one should be its own little cast shadow shape, designed based on your understanding of the relationship between the form casting it and the surface receiving it.

So for example, for the plant on the left side of this page, where you've outlined each little textural petal, you instead should have considered what manner of shadow each such form would cast and how its surrounding surfaces would receive it - drawing only the shadow shape itself, not outlining the forms. You can of course read more about this back in Lesson 2's texture section.

As there are a number of things for you to work on, I'm going to assign some revisions below.