Starting with your arrows, you've got a bit of hesitation to your marks at times, but overall there's a trend of overall confidence in how the initial linework is executed. Most of the hesitation comes when you add line weight - remember that line weight still adheres to the principles of markmaking, with the primary focus being on achieving a smooth, consistent execution. So for that line weight, you should still be leveraging the ghosting method in order to ensure that those marks come out confidently. When it comes to the arrows, this is especially important for achieving a sense of fluidity in how they move through the world, and in most of these arrows you have largely achieved that.

This fluidity is somewhat diminished in your actual leaves. 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. 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. 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.

In addition to giving yourself as much room as each individual structure you're constructing requires, another point that can help here is to add a little arrow head at the tip of your flow lines. This can help to remind you that the goal and purpose of that flow line is to capture a sense of motion, just like in the arrow exercise. You can actually see me use little arrowheads throughout my own demonstrations of the exercise, though it is not required.

In terms of building up edge detail, you're generally handling this well, although I do think you'll benefit from taking a bit more time in the execution of each of these individual edge detail marks you add to the existing structure. One area where you did fall short more noticeably however was this more complex leaf structure. Not only are the little spikes you added to the perimeter of the leaf somewhat sloppily drawn (they don't always rise off the existing edge and return to it in a seamless fashion, but rather often appear partially separated, giving the impression of a bunch of marks on a page, rather than a solid, 3D structure), which is definitely at least partially the result of drawing way too small, but you also skipped steps in how you approached the complex structure. You can read more about skipping steps here, and you can also check out this demonstration which tackles a similar kind of leaf to what you tackled. The informal demos page includes a lot of extra material that can definitely be quite useful.

Continuing onto your branches, it seems that the way in which you followed the instructions may have been somewhat inconsistent. As shown here in the instructions, each segment should start at one ellipse, continue past the second, and stop halfway to the third. Then the next segment starts at the second ellipse and repeats the pattern. Overall you did follow the instructions to an extent, although it seems like there are definitely a lot of places where you didn't quite extend your segments fully halfway to the next ellipse, and some where, though I'm not completely sure of this, but it seems that you may have started the next segment further down. Each of these minimizes the overlap, which is important because it helps to achieve a smoother, more seamless transition from one to the next.

In addition to this, a couple other things to keep in mind:

• Be sure to draw through all of your ellipses two full times before lifting your pen. You're doing this some of the time, but other times you'll stop at 1.5 turns. Just something to keep an eye on.

• Remember that the degree of your ellipses should be getting wider as we move farther away from the viewer. If you're unsure as to why, you can review the Lesson 1 ellipses video.

Moving onto your plant constructions, while the points I've raised already still apply - especially when it comes to both splitting up your pages ahead of time (and as a result not quite making as effective use of the space available to you on the page, and having to draw some things smaller than they really need) and in terms of the tendency towards some hesitant linework - for the most part you are doing pretty well. That is, in terms of applying the principles of construction, and exploring these objects. I do however have some additional points of advice to offer:

• As an extension of the whole "make full use of the space available to you on the page", one thing to consider iks that you do not have to draw the entirety of what's present in your reference image. Looking at your cardinal flower for instance, you could choose to focus on a specific section of the plant, cutting out other pieces, in order to allow you to draw the whole thing bigger and explore the forms present more fully. Of course, that's up to your judgment.

• Avoid cutting off forms where they're overlapped by others. You actually avoid this in many cases, but there are a few spots where you'll allow the edge of a leaf to be cut off when another leaf passes over it. In general, drawing everything in its entirety helps a great deal when it comes to understanding how each form sits in space, and how it relates to the forms around it, which speaks very much to the focus of this course.

• Remember that every phase of construction is a decision being made. So for instance, the flow line of a leaf or petal establishes both how it moves through space, and how far it will extend. Once you've laid down the flow line, be sure to have the structure you're building around it end where it does, rather than leaving a bit of a gap between them. This will maintain a tight, specific relationship between those phases of construction, which will help the solidity we get from the simpler phases to carry forward as we build up more complexity.

Now, I am going to mark this lesson as complete but be sure to review the principles of markmaking and the use of the ghosting method, to ensure that you apply it actively and consciously to all of the structural markmaking.