Jumping right in with the arrows, these are largely coming along quite well. While you get a little wobbly when adding line weight (be sure to always use the ghosting method with each mark, ensuring a confident execution), by and large you have executed most of this linework with confidence, helping to convey a stronger sense of fluidity as they push through the world. You're also doing a great job of compressing the gaps between the zigzagging sections as they move farther away from the viewer.

This strong sense of fluidity also carries over 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. You are similarly doing a great job in building up more complex edge detail, doing so through the addition of individual marks for each bump, as well as in the use of complex leaf structures. I do have two quick recommendations however:

• Try not to increase the thickness of your marks as you move through the phases of construction. Rather, keep those line weights relatively consistent, and then apply a separate pass for line weight at the end. During this pass you can concentrate the use of line weight towards clarifying how different forms overlap one another (so it's generally more useful when you have more structures sitting together), limiting it to the specific, localized areas where those overlaps occur as shown here with these two overlapping leaves.

• I can see that in this leaf you experimented with trying to capture the darker local/surface colour of the stem on that leaf. Experimentation is always good, but given our fairly limited tools (specifically the fact that we're limited only to pure black and pure white), capturing local colour isn't really feasible without making the drawing more visually confusing. Instead, it's best to forego local colour altogether, to treat everything like its surface is the same white colour, and to reserve those filled areas of solid black only for cast shadow shapes.

Looking at your branches, you're largely doing a good job here as well but I have two important points to call to your attention:

• Make sure that you're extending each segment fully halfway to the next ellipse as outlined here. This is important as it gives us a healthy overlap, which in turn helps us achieve a smoother, more seamless transition from one segment to the next.

• Remember that as we slide along the length of a tube, the cross-sectional ellipses will shift in degree, getting wider as we move farther away from the viewer. This is assuming a straight tube - when the tube turns, that also adds to the degree shift. If you're unsure as to why all of this occurs, you can review the Lesson 1 ellipses video for a more in-depth explanation.

Continuing onto your plant constructions, overall you've done a pretty good job as a whole, although I do have a few things to call out to help keep you on the right track as you move forwards through the course:

• 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, we can end up in a situation where we limit our brain's capacity for spatial reasoning, while also making it harder to engage the whole arm while drawing. In your case here I'm not too worried about it, as you have generally given most of your drawings a good bit of space, but I do want you to keep this in mind for the future. 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.

• When constructing your cylindrical flower pots, be sure to build it up around a central minor axis line to help you with aligning your various ellipses.

• Also - and this actually isn't a consistent problem but rather one that comes up here and there - be sure to use as many ellipses as you need to build out the entirety of that flower pot's structure. For example, there are a couple cases where you didn't quite establish the thickness of the flower pot's rim, causing it to appear paper thin. Instead, placing another ellipse inset within the other as you did here is better. Also, including another ellipse to establish the level of the soil is another good one (though I think you did that most of the time).

• I did notice some cases where you'd cut out a drawing from another page and then dropped it in. While this isn't specifically a problem, I do want to remind you that no assignment in this course is to be impressive, or to even draw well. I want to see what you can do within the specific confines of a specific set of pages. If something goes wrong, no problem - I want to see that too, even if it's mistakes you fully understand and can identify on your own.

Of course, the points I've raised already (like filling in sections to capture local/surface colour) apply to various points in your work here as well, but I don't think it's necessary to repeat it. Aside from that, you're doing very well. I'll go ahead and mark this lesson as complete.