Starting with your arrows, these are quite well done. You're doing a great job of capturing how they move through space with confidence, really pushing the sense of fluidity and motion. One thing to remember though is that line weight shouldn't be applied back along the whole stretch of your form. Line weight should instead be focused on clarifying particular overlaps in specific, localized areas, like where the ribbons fold back over themselves. Since you're executing those marks with confidence, they should taper towards the ends, which will let them blend into the existing linework.

Continuing onto your leaves, you're carrying over the same focus on confidence and fluidity, and in doing so you're doing a good job of capturing how those leaves not only sit statically in space, but also how they move through the space they occupy. You're also doing a very good job of building up more complex edge detail, piece by piece, building it right onto the existing structure rather than at tempting to replace it. One thing though - don't draw later phases of construction with a darker or thicker stroke. No need to press harder - just maintain roughly the same line thickness as the previous phases of construction. As mentioned before, line weight itself is a totally separate thing that you'll apply at the end of a construction, if you've got forms or parts of forms that overlap one another. Drawing different phases of construction to be darker/thicker than those preceding them however can incorrectly encourage us to try to redraw the entire structure, rather than letting the earlier phases of construction to stand for themselves where they can.

Moving onto the branches, these are looking good! Just be sure to extend each segment fully halfway to the next ellipse, so as to allow for a greater overlap between them so the transitions can be as smooth and seamless as possible. You do this in some cases, but there are others where you end up stopping a little short.

Onto the plant constructions, as a whole you're doing very well - though there are a few points I want to bring to your attention:

• With the lily drawing on this page, I think you've fallen more to trying to replace the simpler petal constructions when getting into adding edge detail, as I discussed earlier. This issue is also addressed here where I talk about the mistake of zigzagging your edge detail lines. This results in a much weaker relationship with the previous phase of construction, which impedes us from carrying forward the solidity of that simple structure as we develop greater complexity.

• On that same page, with the daisy drawing, you started with an ellipse to define the boundary of where those petals would extend, but ultimately didn't use it as such consistently for all your petals. Remember that every step of construction is a decision being made, and we hold to those decisions as we continue forward in order to avoid contradictions. In this case, putting down the ellipse states that all our petals will extend to this distance - so make sure those flow lines do indeed extend to its perimeter. If you want your petals to extend to random distances, you can do as you did for the sunflower and eschew the ellipse altogether. Or, alternatively, if you've got different groupings of petals that extend to different distances, you could use a few different ellipses.

• Make sure you draw your flower pots around a central minor axis line, to help align whatever ellipses you need to construct that form.

• When you get into more detail, remember that the texture section in lesson 2 focuses entirely on the use of cast shadow shapes and implicit drawing techniques, as opposed to explicit ones. When you ended up with little protrusions - like along the mushroom cap, you first established those growths by outlining them explicitly, then applied form shading to them (putting the black shapes inside those forms) rather than drawing the shadows they'd cast on their surroundings (placing the black shapes outside the forms, and designing them to actually imply the presence of those forms. You may want to give a quick review of the texture section to remind yourself of how those implicit drawing techniques work.

• Also, when drawing the potato plant, you didn't actually follow this all the way through. You neglected to draw the shadows the outer leaves cast on the ground. As a result, the area you did fill in with solid black ended up reading like an abstract background colour for the drawing, rather than the actual cast shadows they were in the demonstration - where the foliage was thick enough to cover everything. You'll also note that the camera angle on my demonstration was higher, so we'd be looking straight through the leaves at the dirt beneath, whereas in yours if that filled negative space were cast shadows, some of them would be floating in the air. That's not a big deal, but it does suggest that you could be a little more mindful to what is being drawn in each step of the demo, rather than following more blindly.

Aside from those points, your work is coming along well. I'll go ahead and mark this lesson as complete, but keep these points in mind and carry them forward into the next lesson.