So the first thing I should mention here is that the sketchbook you're using may not be ideal. As far as your linework goes, it may actually not be an issue, but from what I can see from your photos, it does seem to have a fair bit of texture to it, almost like paper that's intended for watercolor (though I'm working off fairly limited info here). As I mention here in Lesson 0, there are different kinds of paper for different media, and for our purposes here, smooth paper is best. Rougher paper intended for dry media (which you'll find in most sketchbooks, unless you specifically go looking for pen-friendly ones) will usually absorb more ink than they should, which can mess with line quality and also decrease the lifespan of your pens. I'm actually not entirely sure how watercolor paper works with fineliners, but I do know that it's fairly absorbent as well.

Ultimately I'll leave it to you to figure out what kind of paper to use, but I do always recommend that students work with simple printer paper.

Anyway, getting right into your arrows, one thing you've done exceptionally well here is how you've executed each mark with a great deal of confidence. It has helped quite a bit to establish the fluidity and sense of movement with which each arrow explores the space. One point to note however - while I'm very pleased to see that you're applying line weight with a similarly confident stroke, it is best to limit its use only to the areas where overlaps occur (like where an arrow zigzags back over itself), rather than applying it to longer sections of an existing line. Not only does this make it easier to apply the line weight without getting caught in the pitfalls of tracing hesitantly (which you're not, but it's still a common issue with students), it also just tends to work far better when we get into drawing actual objects.

Continuing onto your leaves, the same confidence and fluidity from the arrows has an excellent impact here, helping you to capture not only how each leaf sits statically in space, but also how they move through the psace they occupy. As a whole you're doing a good job of building up edge detail as well, although for the few leaves along the bottom of the page, I am noticing a tendency towards starting your construction out with a fainter, lighter line, then going back over it with a darker stroke. As a rule - if the existing structure doesn't need to be altered, you don't need to go back over it in this manner. Instead, focus only on adding the parts that need to change, and do so while maintaining the same rough line thickness. In your actual constructions, you'll be able to apply a line weight pass towards the end (again, focusing it in the specific, localized areas where your forms overlap one another, to clarify the nature of those overlaps as shown here in these overlapping leaves), but this is not something you should do in the midst of building up your construction.

For your branches, you're following the main steps for building up the structure well, and I'm pleased to see that you're extending your segments fully halfway to the next ellipse in most cases. One thing you do need to keep an eye on however is the degree of your ellipses. As explained back in Lesson 1's ellipses video, the degree of our ellipses will shift wider as we slide along the cylindrical structure, moving away from the viewer. So, the ellipses should not maintain a consistent degree as they do here.

Continuing onto your plant constructions, your work here is by and large quite well done. As far as construction is concerned, you're building your structures up with a fair bit of respect for how each components its in 3D space, and how they relate to the elements around them. You're also demonstrating a solid use of cast shadows to help emphasize those spatial relationships. I have only a couple things to call out:

• This one's not a mistake, just something to keep in mind for the future. In this drawing it appears that you tried to capture some of the local/surface colour - that is, you filled in the areas that were darker in your reference. Given our more limited options - that is, we're only working strictly in black and white in this course - it largely means we have to pick and choose our battles. It's often better to focus our filled black areas on cast shadows only - doing so consistently leans into what the viewer will generally expect when they see an area filled with black, and thus will help us communicate them more clearly and effectively.

• I know we've talked about this already, but when you attempt to go back over the edges of this leaf, you do so in a rather sketchy fashion, resulting in a lot of visibly independent strokes. As with all marks we execute throughout this course, make sure that you're doing so using the ghosting method, investing appropriate time into the planning and preparation phase. And, of course, line weight being focused on clarifying specific overlaps will help avoid these situations as well.

• When drawing your flower pots, remember that the rim at the opening isn't actually paper-thin. Placing another ellipse inset within the opening will help suggest a thicker rim, which in turn will help your drawing feel more believable.

• Also, when you find that you don't have room for the whole flower pot, be sure to actually cap it off where it gets cut off, rather than just leaving it open ended. This will help maintain the solidity of the structure, whereas an open end will flatten it out.

As you can see, there are just a few minor points to keep in mind. By and large, you've done quite well, so I'll go ahead and mark this lesson as complete.