Overall you're doing a pretty good job, with a few things to keep in mind.

Starting with your arrows, they flow nicely through space and across the page, though I am noticing that while you do compress the spacing between your zigzagging section as we look farther back, you usually hit a point where you refuse to make the gaps any smaller. It seems like you're actively avoiding having the ribbon overlap itself, which is an important part of conveying the sense of depth in the scene.

One other note, and it really isn't that important, but you made a choice to apply the little hatching lines to run along the length of the ribbon, rather than across its width. This means that your hatching lines run along a warping surface the bends and turns (meaning that those lines, being contour lines, must warp and bend along with it). It basically puts you in a position where in order to sell the illusion you have to do something notoriously challenging, and in all likelihood it will throw off your drawing.

A more common situation where one might see this is with cylinders - they can choose to draw the lines such that they wrap around the cylinder, or run lengthwise along it. One requires drawing lines that warp (like here), the other merely requires straight lines. Whenever possible, if hatching is required, go for the straight lines. In this case, that'd mean drawing them across the width of the ribbon, from edge to edge.

Moving onto your leaves, you're generally doing a good job with drawing them such that they flow nicely through space, and I can see you adhering closely to the previous phase of construction, adding any further detail or edge variation in such a way that it builds directly on top of what was previously established. I have just one point to raise. Towards the bottom of the page, you've got a lot of really faint, half-drawn lines that run along the surface of your leaves. Students often do this, because they get confused as to whether they're drawing contour lines (to help establish how that surface flows through space), or whether they're attempting to capture some visible detail or textural element. They end up hedging their bets and doing neither all that well.

In this case, being that you're drawing lines (and not cast shadows, as all texture is made up of the shadows cast by textural forms, not the outlines of those forms or lines of any kind), you're certainly not doing that. But given that these lines are not drawn confidently, they are not doing a very good job of being a constructional element. Whenever putting any line down, it's important to think about what exactly you're attempting to achieve with it - if you're drawing texture, do so in the way that you've been taught (as explored back in lesson 2. If you're drawing contour lines, draw them confidently such that they stretch all the way along the length of the form, not half disappearing along the way, and only draw as many as you feel are needed to accomplish the given task.

Your branches are generally a good start, though there's definitely room for improvement. I'm noticing that in many cases you're not quite extending your line segments halfway towards the next ellipse as instructed. As a result, you don't end up with much room to overlap the previous edge and have the next one blend seamlessly into it. As a result, there's a lot of broken flow along the edges of your branches. Additionally, keep working on avoiding any areas where the width of the branch changes - keeping it consistent will help push the illusion that it is a solid, three dimensional form.

Moving onto your plant constructions, I think for the most part you're employing the principles covered in the lesson ti fairly good effect. There is room for improvement, but the direction in which you're moving is the correct one. You're consistent and concise in drawing each and every form in its entirety, and establishing spatial relationships between those forms instead of focusing only on what would be visible in the two dimensional drawing. You're also not afraid to build up numerous forms, even when most tend to get tired and seek shortcuts. That's not to say you don't get sloppy - there are plenty of half-assed marks in this one, but overall you're still putting in a solid effort overall.

A couple recommendations I have for you to keep in mind are as follows:

• Draw big. You don't exactly have a habit of drawing things small, but there are definitely cases where some of the decisions you make result in parts of your drawings ending up far smaller than they need to. For instance, on this page you could have chosen to focus in on a specific area instead of the whole plant. This would have given you far more to explore in greater depth, engaging the whole of your arm instead of very clearly relying upon your wrist and ending up with a lot of stiff strokes.

• If you choose to explore texture and detail, apply the principles covered in lesson 2. Note that the section has been rewritten as of the beginning of February, so you it may be new to your eyes if you had read through it beforehand. You have a tendency to put your texture/detail marks to be sporadic and haphazard, rather than actually reflecting clear and direct observation of what you're drawing. Texture is not a requirement of any of these lessons, but if you should choose to include them, it needs to be a conscious choice to do it properly, not as an after-thought.

One last thing I wanted to mention was that while in the majority of your constructions, you did a great job of keeping your forms simple and building them up bit by bit, this cactus deviates from that standard, and it suffers for it. You'll notice that each form was drawn more as a complex shape, to which you then attempted to establish form after the fact by adding contour lines. Construction is all about starting simple and building that complexity up gradually. Any wobbling edges will be interpreted as complexity, so avoid starting out with them wherever possible.

All in all, while you've got plenty of room for growth with continued practice, I think you're moving in the right direction. As such, I'll go ahead and mark this lesson as complete.