Starting with your arrows, your initial linework is looking great - you're doing an excellent job of drawing the arrows themselves with confidence, which helps to capture the fluidity with which they move through the world. This confidence does get somewhat undermined however when you start adding line weight - you seem to be tracing over the existing linework in a hesitant manner, which takes those confident lines and imbues them with a lot more wobbling. As with every mark we make, even line weight should be executed using the ghosting method, accepting that confidence is more important than accuracy, and that while we are inevitably going to slip up, that will improve with practice.

It also helps to generally try and use line weight in a more limited fashion, concentrating it right where overlaps occur between forms - so for example, where the zigzags happen. We can place the line weight where that occurs and have it taper off more quickly with a confident stroke, helping to avoid the need to trace over long chunks of line.

Moving onto the leaves exercise, that initial confidence you started out the arrows with carries over fairly well into this exercise, helping you to capture not only how the leaves sit statically in space, but also how they move through the space they occupy. There's a lot of good here - I'm pleased to see that you're applying the core principles of the leaf construction process to more complex structures with many sub-leaves, and through most of these, you're handling the addition of more complex edge detail well in most cases - the exception being this one where you make the mistake of zigzagging your edge detail.

Continuing onto your branches, your work here is generally coming along well - I'm pleased to see that you're extending each segment fully halfway to the next ellipse, helping to achieve a smoother, more seamless transition from one to the next. I do however have a couple things to call out:

• Firstly, remember that as with all ellipses we freehand throughout this course, you should be drawing through them two full times (as explained here).

• Secondly, right now you appear to be sticking to roughly the same degree for most of your ellipses. As explained here in the Lesson 1 ellipses video, the degree will actually shift wider as we slide along a cylindrical structure, moving away from the viewer.

Finally, your plant constructions. As a whole you're doing a pretty good job here, and I can see definite growth and improvement over the set. There are a couple things I want to draw some attention to, but as a whole you're doing quite well.

Firstly: there are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. When it comes to time, your work demonstrates a great deal of patience and care, so it seems to me you're doing fine on that front.

For the other point, it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

I will mention that I don't see large signs that suggest drawing smaller as you've done here has really interfered with your work - your lines still flow smoothly, and you still work through your constructions with care - it's just one of those things that can end up being an issue later on, so it's best to push one's self to draw big earlier on.

The other thing I wanted to talk about is texture and detail. There are a lot of cases here where I think you've handled texture quite well, and I think that you are doing a good job overall of keeping the principles from Lesson 2 in mind. One thing I want to suggest however is that you avoid drawing any textural marks with singular, independent strokes. So for example, if you look at this flower, you're definitely thinking about those textural forms, and how you can imply their presence by drawing the shadows they're casting. The shadows themselves, however, are just individual lines. There are better ways to tackle this - albeit they're a bit more time consuming.

The main thing I'd suggest is to actively draw these textural marks using a 2 step process, first of outlining a closed, intentionally designed shadow shape, then filling it in as shown here. This has a couple benefits:

• As mentioned in that diagram, it yields more dynamic shadow shapes that can taper more noticeably, whereas simple lines tend to feel more static and stiff.

• It also gives us an opportunity to be much more intentional with the design of those shadow shapes, and to think more about how each shape relates to the form that is meant to cast it. Right now your one-off strokes tend to result in somewhat less specific marks, so being given a little more time to think through each individual one's design will be well worth it, even if it means spending a ton more time on a given drawing.

So, that about covers it! All in all, you're doing well. I'll go ahead and mark this lesson as complete.