Starting with your arrows, you've done a decent job of drawing these with an amount of confidence and fluidity. Just don't forget to compress the gaps between the zigzagging sections as shown here. I noticed that you tend to compress them horizontally, but the gaps in the depth dimension of the scene tend to remain roughly the same.

Continuing onto your leaves, you've captured the same sense of fluidity here, which has helped you to establish not only how the leaves sit in space, but also how they move through the space they occupy. That said, this page definitely comes off feeling somewhat half-finished. Not only is there a lot of empty space throughout the page, but aside from a couple of cases where you experimented with more complex leaf structures, you appear not to have played around with any edge detail (like what is shown here). As far as the leaf construction steps shown here, you stopped at step 3.

It is extremely important that you take each exercise to its fullest extent, and that you make full use of the space available to you on the page.

Moving onto your branches, you're not doing too badly, but there are definitely a few things that are making this exercise a bit more difficult:

• Your ellipses are a bit on the loose end. Make sure that you're applying the ghosting method and drawing them from your shoulder, and also try to limit yourself to drawing through them two full times - no more, no less. This will help you keep the benefits of drawing through your ellipses, without letting them get out of hand.

• In a number of places (though not all), you aren't quite extending your segments fully half way to the next ellipse. This, in combination with making sure your next segment overlaps this last chunk of the previous one helps to achieve smoother, more seamless transitions from one segment to the next. You can see this demonstrated in these instructions. If your previous segment goes way off course, overlapping it will definitely make things harder immediately, but you'll learn a lot more from it, and you'll improve more quickly.

Now, let's look at your plant constructions. At its core you are largely following the correct procedures, but there are a number of issues that I'd like to call out that should keep you moving in the right direction.

• Firstly, looking at some of your drawings like this one, I noticed that your drawing seems to be separated into two different sets of lines. You've got the lighter ones - like the flow lines of your leaves and branches - and the darker outlines of the various forms. The dark ones appear to be drawn visibly more carefully and hesitantly, which makes them appear more stiff. In general, try not to do this. Instead, draw all your lines with confidence, and don't worry about making some darker or lighter than others. All we're doing here is focusing on construction, which is an exercise to improve your spatial reasoning skills. Sometimes students fuss over this sort of thing when they're trying to make their drawings cleaner, which isn't our goal here. Towards the end of the drawing process, you may go back and add line weight to your drawing, but this does not mean going back over the entirety of your silhouettes. Line weight is reserved just for key, localized areas, to help clarify how one form might overlap another. That line weight then blends back into the original lines as shown here.

• As I outlined here, when drawing the leaves of that potted plant, you skipped a step. After the flow line is established, we create simple outlines for the leaf. Then you build up the wavier edges on top of that, creating separate curves coming off the earlier edge and returning to it. Don't jump right into the higher level of complexity without first establishing enough scaffolding to support it.

• Another minor point - when drawing those cylindrical flower pots, always construct them around a central minor axis line. Then be sure to draw each cross-section as an ellipse, confidently from your shoulder using the ghosting method to keep them evenly shaped. You approached that part decently, but the ellipses definitely looked somewhat stiff and uneven, rather than confident and smooth.

• I also noticed that in a lot of drawings you stopped drawing through your ellipses altogether. Make sure that you draw through them two full times before lifting your pen, and that, again, you draw them confidently to ensure they come out evenly shaped.

Now, I've given you a number of points to address. Before I mark this lesson as complete, I'd like to see a few pages of revisions, to give you the opportunity to apply what I've listed above.