Starting with your arrows, they're flowing confidently and smoothly through space, although do be sure to compress the spacing between the zigzagging sections as shown here to better demonstrate the depth in the scene as they move away from the viewer.

The same sense of movement and fluidity carries over quite well into your leaves, where you've captured not only how they sit in space, but also how they move through the space they occupy. You've also generally built up that complex edge detail fairly well, attaching it to the existing structure from the previous phase of construction.

Moving onto your branches, you're doing an okay job of applying the principles of the exercise here, but the first thing that jumps out at me is that your ellipses are definitely quite rough:

• They tend to be a bit stiff - make sure you're executing them confidently, from your shoulder, after employing the ghosting method to keep them smooth and evenly shaped.

• Do not draw through them more than two full times before lifting your pen, otherwise you'll lose track of which ellipse you're actually trying to draw.

For the most part you're doing a good job of extending your edge segments fully halfway to the next ellipse (aside from a couple spots like here. One thing I do want you to do however when exploring this exercise in the future is to purposely draw your next segment using the previous one as a runway, overlapping its last part directly rather than drawing where that previous segment ought to have been. This will force you to deal with any deviation in trajectory directly, in turn helping you to improve more quickly.

Continuing onto your plant constructions, you're generally doing a pretty decent job, although there are a few things I want to draw to your attention:

• On your hibiscus, specifically here you've zigzagged your edge detail back and forth, attempting to replace the previous phase of construction instead of simply building onto it as explained here. I also demonstrate this directly on another studen'ts work, if it's more clear that way.

• You've got some really heavy use of line weight, for example in this page. Remember that line weight should: a] be applied only to key localized areas to clarify specific overlaps, NOT to entire lengths of lines, or to attempt to correct mistakes. b] be applied using the ghosting method, same as how you'd execute the original mark. This means that you may sacrifice some accuracy, but those marks should still be executed with confidence, without hesitation.

• The construction method's all about building every phase of construction on the structure from the previous one, and maintaining strict, tight relationships. So looking at this sunflower, the outer ellipse you started with was meant to define specifically where your petals ought to stop - meaning that the flow lines should all stop at its perimeter. If you feel that the petals need to all reach different distances, then don't use the ellipse to define their bounds. Of course, once the flow line is down, it also determines precisely how long a given leaf should be, but you appear to be doing that correctly.

• Also about the sunflower - when you're drawing the shadows cast from one form onto another surface, make sure that your shadow stops where the surface does. You don't want a cast shadow floating in space. You can do this more easily by purposely drawing all of your cast shadows using this two step process, first outlining the shadow shape then filling it in. This technique should also be used for all your textural marks, as it will help you avoid making the mistake of drawing your texture with lines. It's very easy to cut corners and just put some lines down, but this does not cause us to focus as much as we should on how those marks are meant to be represented as cast shadow shapes, and how those shadows relate to the forms casting them. Don't fall into the trap of just putting down the marks you think you see. Consider where they're coming from, and how they relate to specific forms. For example, in this drawing your petals have physical ridges that are causing the impression of those lines. So think about how those ridges would result in shadows, rather than just drawing lines to represent them.

You do have a number of things to keep in mind here, but overall your work is coming along well enough. I'll leave you to work on these points yourself, and mark this lesson as complete.