With your arrows, you're off to a pretty good start. You're drawing them with a good deal of confidence, which helps to push the sense of fluidity with which they move through the world. This carries over quite nicely into your leaves, where you're not only capturing how they sit statically in 3D space, but also how they move through the space they occupy.

Generally you're doing decently when building up edge detail, although I am seeing some cases where your edge detail zigzags back and forth across the previous edge. You can read up on why this is an issue here where it's mentioned in the lesson notes, but at its core it's that it results in a weaker relationship between the different phases of construction. Instead, building off that existing edge with a stroke that comes off it and returns to it seamlessly helps to create a cohesive extension of that silhouette, rather than just piling lines on top of lines.

Continuing onto your branches, I do have a couple quick suggestions to help with this exercise:

• Firstly, be sure to extend each edge segment fully halfway to the next ellipse - right now you have a tendency to fall short of that midpoint.

• Secondly, when drawing your next segment, try to have it overlap the last length of the previous segment, basically using it as a runway before continuing onto its next target, rather than drawing where that previous segment ought to have been. This way we force ourselves to take our mistakes into consideration, which makes things harder in the short term, but also makes the exercise more effective.

Both of these points are demonstrated here in the instructions.

Continuing onto your plant constructions, as a whole you're doing fairly well, although I do have a number of things to call out to help you keep getting the most out of these exercises:

• First off, be careful when piling a ton of drawings onto a single page. Right now 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. While I'm not seeing a ton of these problems here, it definitely can arise as you get into more complex subjects. 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.

• Secondly, your linework tends to be somewhat scratchier than it should be - especially if we look at cases like this petal where you've got a ton of separate marks, instead of two purposeful, planned strokes that define each side of the petal. It simply looks like you're not using the ghosting method when executing your marks as often as you should be. This technique is an important tool that should be used for all of your structural marks throughout this course. I should also mention that the exercises from earlier lessons are to continue to be practiced as part of a regular warmup routine, as mentioned back in Lesson 0 (just in case this is something you're not keeping up with).

• Thirdly, every step of construction asserts a decision, or a choice being made. For example, when we draw an ellipse at the beginning with these hibiscuses, their purpose is to establish how far out the petals will extend. That's a choice being made. From there, the flow line of each petal must extend to the perimeter of that ellipse and no farther, and then so too should the petals come to have their tip at the end of the flow line. If we extend our petals beyond the ellipse, then we're introducing a contradiction to our construction, which can then undermine its overall solidity (for the purposes of this kind of constructional drawing exercise).

• For these potato plants, you appear to have stopped short of the end of the demo, as you did not include cast shadows for the various leaves. As a result, the filled area of solid black looks like it's meant to just be an arbitrary choice, rather than shadows being cast onto the dirt in an area where the foliage is dense enough to cover it all. When you follow along with a demonstration, follow every step to the end.

I am somewhat concerned about the sketchiness of your linework, but this is something you can address simply by changing your approach and ensuring that you think before every mark. So, I am still going to mark this lesson as complete.