Starting with your arrows, these are doing a great job of flowing through space, but in a lot of these, you still have the space-compression of perspective being applied differently between the positive space (the width of the ribbon itself) and the negative space (the distances between the zigzagging section). Perspective applies to everything evenly, so as the ribbon gets narrower, everything around it should also be compressing, including empty space.

Compared to your arrows, your leaves' flow does appear to be a touch more stiff. It's still not bad, and they're still capturing a sense of how these forms move through the space they occupy rather than just how they sit statically within it, but I do think that you have it in you to push these lines with a greater sense of confidence and movement. I am however very pleased with how you're approaching the addition of edge detail, adding features such that they adhere strictly to the underlying structure, rather than treating the previous phases of construction as a looser suggestion.

Moving onto your branches, you appear to be applying the segment-blending technique so well that it's actually difficult to see whether you're doing it at all. I can see very slight signs of little hidden tails where one segment goes off its path a little, which tells me that you are in fact employing it, and are just doing an excellent job of it.

You should however still be drawing through your ellipses, as is expected for every ellipse you draw throughout these lessons. This is to ensure that you're drawing them confidently, and not getting caught up in any undue stiffness from trying to hit the ellipse perfectly in one go. Your ellipses are looking pretty good, but regardless, this is an important requirement throughout this course.

As a whole, your work on the plant constructions is very well done, with a few minor issues I'd like to point out. All in all, you're demonstrating an excellent use of the constructional method, building the object up from simple forms and adding complexity through the addition of more such forms. For the most part, you adhere closely to the previous phases of construction's structure as a support scaffolding, as you did with your leaves, and as a result your drawings largely feel solid and cohesive.

Here are the few points I want to bring to your attention:

• Probably most significantly is just the fact that you're drawing really small, leaving a lot of open space on your page. The thing about drawing small is that it limits our ability to think through spatial problems, and can cause us to become unduly stiff when making our marks. This does not appear to be a major issue here (aside from a few places like the pitcher plant), but because it can hit you unexpected in later lessons I really do need to stress the importance of drawing large and taking full advantage of the space available to you on the page.

• Be sure to draw through each and every form in its entirety, rather than allowing their outlines to stop where they are overlapped by another. There are a couple cases where this has occurred, though most again are pretty minor. The petals on this sunflower start at the edge of that central mass. This really isn't that important, but in principle you want to make sure every single form is established as an independent, complete form so we can fully grasp how it sits in space and how it relates to the other forms around it. The cactus on the right side of this page is basically reading as just a few individual lines or shapes, rather than as solid, three dimensional forms - this is because the forms were not constructed in their entirety, and there are no actual 3D relationships defined between them.

• There are a number of places - though primarily with cactuses - where you've employed simple lines/outlines to tackle textural problems. Basically it's when the cactus itself has ridges running along its surface, and you've separated them with simple lines rather than employing cast shadows as discussed back in Lesson 2 to capture the textures implicitly rather than explicitly. While it's easy to forget and not notice when you're moving from core constructed forms to surface textures, it's important that when you do make this shift that you stop employing lines entirely. One strategy to limit the use of lines is to make a point of drawing every single mark in two steps, rather than one. That is, "outline" the shape y ou wish to draw, and then fill it in, instead of trying to execute it in one stroke. I demonstrate this here.

• Don't forget that as explained here, when adding detail, we are not to add form shading as you did towards the mouth of the pitcher plant. "Detail" is not about decoration, it's about adding textural information that helps convey more information about the surfaces of the object.

Aside from that, your work is coming along very well. I'll go ahead and mark this lesson as complete.