Starting with your arrows, these are drawn with a great deal of confidence, which helps convey how they flow through all three dimensions of space. This carries over fairly well into how you build up your main construction for your leaves, where you're capturing not only how they sit statically in space, but also how they move through the space they occupy.

You're also approaching the addition of more complex edge detail, as well as more complex overall leaf structures, pretty well. You're building those additional marks one by one onto the existing structure, rather than trying to replace it. The only issue here is that these smaller marks tend to appear much more stiff and hesitant, which suggests to me that you're executing them from your wrist. Remember that the size of a mark does not have any bearing on which pivot it should be drawn from. It's all about whether the mark requires stiff precision, or smooth fluidity - and the vast majority of marks fall into the latter group.

Yes, drawing smaller marks from the shoulder is harder - but that's normal. Remember that every drawing throughout this course is itself just an exercise, so we fully expect there to be blunders and mistakes as you attempt to hold true to the core principles of markmaking. Mistakes are okay, especially if they're done because you were trying to do things correctly.

Moving onto the branches, these are somewhat similar to your leaves. You're applying the steps of this exercise well, achieving good overlaps between the segments. The ellipses themselves, however, are again quite stiff and uneven - this is definitely because you're not drawing them from the shoulder. Along with that, be sure to also apply the ghosting method to every single mark you draw.

Another issue I noticed was that you tend in most of these to draw the ellipses with roughly the same degree. As explained here in the Lesson 1 ellipses video, the degree of these ellipses will change as you slide along the length of a given cylindrical form, getting wider or narrower.

Moving onto your plant constructions, it pretty much continues to follow the same pattern. Overall you're following the immediate instructions of this lesson quite well. You're working through your constructions step by step, you're generally avoiding building up to too much complexity too quickly, and so on. Your linework itself is where most of the issues arise, but there are a few other specific issues I'll point out:

• Firstly, you do have a tendency to draw things quite a bit smaller than you should. It's a common thing that students do when they don't feel confident in their ability to execute what's asked of them, but drawing smaller actually severely limits our brain's ability to think through spatial problems, while also making it much harder for us to engage our whole arm while drawing. In both these ways, you're making things harder for yourself, resulting in clumsier linework overall. Your first priority is to give each drawing as much room as it requires on the page. Once you're done the first, you can assess whether there's enough room on the page for another, and if there is, go ahead and draw another. If there isn't, it's okay to just have one drawing in a given page, as long as it is because the page was used as much as possible.

• I did notice that when using the branches technique for drawing your flower stems, you skipped over the first step - which is drawing that central minor axis line. That line is helpful because it gives us something to which we can align our ellipses. Without it there, your ellipses tend to be drawn far more arbitrarily.

• There are also cases where because you're drawing small, you decided to draw some of your stems as simple lines. Avoid this in the future - make sure everything you construct is drawn as a solid form in three dimensions. These drawings are after all, exercises in spatial reasoning, so working in 3D is pretty important.

• When it comes to adding any kind of texture, remember the concepts from Lesson 2's texture section. Most specifically, force yourself to draw all your textural marks specifically as cast shadow shapes, first defining their outline, then filling them in. Employing this two step process will help you avoid the temptation to just draw textural marks on one stroke at a time, which tends to ignore the concepts of "implicit" markmaking covered in lesson 2.

As a whole, you're very much moving in the right direction in a lot of ways, but you are taking steps that severely limit your results. Draw bigger, employ the ghosting method, draw from your shoulder. And more than anything else, take your time - drawing is difficult, and demanding. We often fall under the impression that we need to be doing things quickly, to churning out drawings fast. That is not the case. Every single mark should be given as much time as it requires to be drawn to the best of your current ability, according to the instructions.

I'm going to assign a few additional pages below, but I really do mean it when I say that you're showing an awareness of the instructions of this lesson in particular - you just need to apply those from the previous lessons as well.