Starting with your arrows, these are by and large coming along well. You're drawing them confidently, which helps to push the sense of fluidity with which they move through the world. This carries over fairly well into your leaves, where you're not only capturing how they sit statically in the 3D world, but also how they move through the space they occupy. That said I do have a few points to call out:

• Remember that as discussed here, you should avoid having edge segments that cross back and forth over the previously existing edge. This definitely occurred here though I can see that it was not intentional. Rather, you laid out those segments individually, and they just happened to connect up that way. This kind of goes back to the push and pull of constructional drawing - the task at hand is essentially a spatial reasoning exercise. We start simple, and gradually build up complexity by building upon the structure that is already present, one step at a time. Each step requires our brain to consider how the elements exist in 3D space, and how our additions relate to them within that 3D space. Above all, we try to reinforce the illusion that what's already there is three dimensional, and to maintain that illusion as we continue on. Sometimes following our reference image super closely will paint us into a corner, so to speak - where we realize that due to some edge detail being particularly zigzaggy by its nature, we may have wanted to treat the existing edge more as one extreme or the other, having the entirety of that edge detail exist inside the existing silhouette, or outside of it, rather than both. If you've already committed to this course of action however, all that's left is to alter what it is you intend to draw - to stray from the reference image in favour of maintaining the illusion of solidity, and a strong relationship between the phases of construction. In such a case, you might space out those zigzaggy sections a little more, giving each segment more of a chance to flow back into the existing edge to ground itself, before separating out again with another stroke.

• Next to the leaf that you filled in with black, you noted "super dark leaf, is this ok?" - you were right to ask. Given that we're working with especially limited toolsets (given that we can only work with solid black and solid white), we actually don't really have the means to capture certain kinds of information - for example, local/surface colour. Here you tried to capture the darker local colour of the leaf, but given our tools it's best not to bother. Attempting to capture more information than we're strictly able to here results in a lot more visual confusion. Instead, it's a lot better to reserve our filled black shapes for cast shadows specifically (whether they're cast by textural forms, or larger constructed forms). This also means that you shouldn't try to use filled areas of solid black to hide or correct mistakes, as you did here.

• Lastly, remember that when it comes to texture, it's not actually about drawing the shadow shapes you see in your reference image. Rather, it's about using your reference image to identify the forms that are actually present, then designing your own shadow shapes based on your understanding of the relationship between each textural form and its surrounding areas. Here it looks like you focused a lot on drawing the shadows you see, rather than focusing on each individual textural form. One thing that can help with this is to intentionally ensure that every textural mark is drawn using a two-step process. First you outline/design your intended shadow shape, then you fill it in.

Continuing onto your branches, you're doing decently here but I have two main things to draw to your attention:

• 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.

Moving onto your plant constructions, as a whole you've done pretty well. You're clearly putting a lot of attention towards thinking through how to build up your constructions from simpile to complex, one step at a time, and it shows in the majority of your drawings. I do of course have a few things to call out:

• Firstly, try to keep the thickness of your lines more consistent from one step to the next, rather than having them get heavier/thicker as you progress through a construction. You can always add line weight towards the end in its own pass, but when you do so, try to focus it specifically towards clarifying how different forms overlap one another. This is best done by limiting it to the specific areas where those overlaps occur, as shown here with these two overlapping leaves.

• Secondly, always be sure to draw each and every form in its entirety, rather than cutting them off where they over overlapped by their neighbours. This helps immensely towards understanding how each form sits in space, and how it relates to the forms around it. So for example, the leaves at the top of this drawing cut off early, making us focus more on how they sit on the flat page as lines and shapes, rather than how they exist in three dimensions. This is of course something you're doing more consistently in other parts of that same drawing, as well as in other drawings. That said, there is a tendency in some other cases, like this sunflower to leave the end of the petals that butts up against the central mass of the flower open-ended. This is a missed opportunity - instead, by drawing each petal in its entirety we can then give ourselves the opportunity to define a specific intersection between the petal and the central mass, defining that relationship more clearly.

• Construction itself is all about asserting specific decisions at every step, and then adhering to those choices as we progress forwards. For example, the simpler leaf shape with which you started out this complex leaf structure defines the overall footprint of that frond - basically the extent to which that leaf is going to extend outwards. Once established, you must abide by it, even if it doesn't match your reference correctly. Thus, all subsequent flow lines should be drawn to the perimeter of that simple leaf shape, and then every further "arm" must then end at its respective flow line's tip.

• I also noticed that you skipped a step in that frond's construction, as explained here. Each individual arm should be established with its own complete leaf shape, before merging them all into a single structure. Construction can be quite time consuming, but if you allow yourself to take shortcuts, you will learn less from the process. As you progress through this course, you will encounter many such situations where a particular problem ends up being far more time consuming than you expect - especially when you hit the very end of the course with Lesson 7. You need to be willing to give each drawing, each form, and each mark as much time as it individually requires to be executed to the best of your current ability, regardless of how long that takes. Remember that you are by no means required to finish a drawing in a single sitting - you can and must spread it out across as many sittings and days as you need.

So, be sure to keep those points in mind. I'll go ahead and mark this lesson as complete.