Starting with your arrows, these are largely quite well done. You're drawing them with a good deal of confidence behind your linework, which helps you to capture the manner in which they each flow fluidly through the world. I can also see that you're paying attention to how the negative space between the zigzagging sections compresses as we look farther back in space.

That fluidity and confidence carries over nicely into the leaves exercise. I can see you capturing not only how those leaves sit statically in the world, but also how they move through the space they occupy. You're also doing a great job when it comes to building up both more complex edge detail (doing so one stroke at a time, making incremental adjustments to the existing structure rather than trying to wholesale replace it in its entirety), as well as when tackling more complex leaf structures that require the leaf construction concepts to be repeated and combined.

Continuing onto your branches, you're largely headed in the right direction here, but with one key issue - the manner in which your edge segments overlap is kind of inconsistent. Sometimes you don't extend them fully halfway to the next ellipse, and in other cases you'll have a segment start further beyond the previous ellipse. Both of these result in more limited overlaps between segments, which as shown here is important to achieve a smoother, more seamless transition from edge to edge. Just be sure to apply the points from those instructions more consistently in the future.

Moving onto your plant constructions, as a whole I feel your work here is quite well done. You're fastidious in going through all of the steps one at a time, and you're demonstrating a good deal of patience and care throughout the process. I have just a few recommendations to offer:

  • Perhaps most importantly, I'm noticing that your pages tend to be laid out ahead of time to leave lots of room to accommodate a specific number of plant constructions. This results in two key issues - firstly, you're artificially limiting how much room each drawing is given. This can cause us to draw certain things quite small, which itself limits how much room our brain has to think through spatial problems, while also making it harder to engage our whole arm while drawing. These are all things we improve at over time, but it's important to first give ourselves lots of room to work and think. The other issue is that it results in a lot of space going to waste, which could otherwise have been beneficial. Instead, focus on giving the first drawing of a page as much room as it requires, rather than isolating it into its own specific half of the page. Then, once it's done, you can assess whether there will be enough room to fit another drawing. If there is, then you should certainly add another, and repeat the process. If there isn't enough room however, then it's perfectly okay to have a page with just one drawing on it, as long as that page's space is put to good use.

  • When drawing your cylindrical flower pots, don't forget to construct them around a central minor axis line. You did this just fine for the monstera, but not for the pilea plant and aloe.

  • Generally it's most effective to reserve the areas of solid black for your cast shadows only. For the most part, you did hold to this, but there were a few places where you used it to capture the local colour of a surface (like at the top of this mushroom), as well as for the soil of your potted plants. Generally the viewer will try and interpret filled black areas as cast shadows (at least given the more limited toolset we're using for our drawings), so it's best to lean into what they expect.

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