Starting with your arrows, you're doing a great job of keeping them smooth and confident, and I can indeed see that you're thinking more about foreshortening. About the arrow in the top right though - the overall "width" of the arrow as a whole should be squeezing down the further back we go. You do this correctly with most of the others, but you probably focused so much on squeezing down the gaps that you forgot about the other dimension.

Moving onto the leaves, you're generally doing a good job of focusing on how to take that confidence and fluidity from the arrows and to apply it here as well to capture not only how the leaves sit in space, but how they move through it as well. I'm also pleased to see that you've explored various kinds of complexity as well, both with more complex edges and complex structures overall. One thing I want to warn you against is that right now you're treating the subsequent phases of construction as an opportunity to replace the entirety of the linework from the previous phase. That's not quite what we're doing here - instead, we're merely building upon what was already laid out. So instead of adding that complex edge detail by creating a single continuous line all the way through, draw each little wave and bump as a separate stroke that rises off the simpler edge, and then returns to it. You can see what I mean by this in these notes.

Moving onto the branches, you're doing a good job here of adhering to the steps, and as a result you're generally getting the segments to flow smoothly from one to the next. I did notice areas where you didn't quite extend some of the segments fully halfway towards the next ellipse however, which resulted in a less seamless transition. Note how in this diagram, the overlap between the segments is an important part of nailing the transition and keeping the impression that we're looking at a single continuous line that extends from one end of the branch to the other.

Looking at your plant constructions, for the most part you've done a good job across the whole set, and are demonstrating a generally good grasp of construction and of spatial reasoning as a whole, but there are a few things I want to point out to you:

• First and foremost, don't go out of your way to squeeze your drawings into smaller corners of a given page - for example, your potato plant drawing. Drawing smaller will severely impede your ability to think through spatial problems, while also limiting your capacity to engage your whole arm when drawing your marks. It will also result in the lines themselves being relatively thicker compared to the size of the drawing as a whole, which will make certain aspects clumsier. Don't worry about purposely trying to squeeze as many drawings to a page as you can. Focus first and foremost on giving a drawing as much room on the page as it needs - then when you're done, you can see if you think you can fit another one in there. If you can't, no big deal.

• When constructing cylindrical structures, such as flower pots, construct them around a central minor axis line in order to help align the ellipses.

• Additionally, don't forget to draw through your ellipses two full times before lifting your pen.

• Draw each ellipse in full as well, all the way around. Don't just draw the partial curve that we can see when constructing part of a flower pot, as this is just going to establish it as a flat shape on the page. We want to understand how it sits in 3D space as a whole.

• Last thing on the topic of flower pots - those flower pots have thickness at their rims, and conveying this can be done by placing another ellipse inset within the larger one at its opening. Often times there are a lot of ellipses involved even in simple structures like this, so don't be afraid to draw them all.

• When it comes to detail and texture, I think you've definitely poured a lot of effort into it - but there is something that i need to clarify, and that is precisely what our goal is when we add detail. When drawing the construction of an object, the goal is to communicate how that object could be manipulated in our hands, and what it'd be like to actually hold the object. When drawing texture and detail, the goal is to help communicate what it might be like for the viewer to run their fingers over the object's various surfaces. The goal is always to communicate - not to decorate. And to this end, it can be quite easy to go overboard with texture, to focus on making a pretty picture in the end, and no longer to just focus on what is needed to get a certain point across. For example, looking at the rose's leaves, you stopped attempting to convey their actual texture, and ended up slipping back into simply adding shading. Shading, as discussed back in lesson 2, is something we aren't including in our drawings throughout this course, because any purpose it might serve is better accomplished through construction. Furthermore, if you were attempting to convey texture on a particular leaf, then you don't necessarily need to go as heavy with the same texture on all the other leaves. Always err towards less, rather than more, and remember that we are not in the pursuit of pretty pictures here - every drawing throughout this course is an exercise to help develop our spatial reasoning skills, and to improve our ability to communicate visually.

• On a similar tone, looking at the Montera Deliciosa, I noticed that you ended up using really heavy line weight on your leaves there. This is a common mistake students make when they confuse line weight and cast shadow. Line weight is by its nature meant to be very subtle. It's not about shouting at the viewer, but rather whispering to their subconscious through the use of slight changes in thickness. It's all about relative weight - making a line a touch thicker in a certain area is enough to come across. Cast shadows on the other hand have the freedom to get as big and as bold as we need them to, but unlike line weight, they do not cling to the silhouette of the object that casts them. Cast shadows must fall upon another surface. In this plant, you appear to have used very thick lines, but had them cling to the silhouette of the leaf, giving the impression of cast shadows that are just floating loosely in the air.

So, I've laid out a number of things for you to keep in mind, but overall I am still rather pleased with your work and I feel that while you do tend to go overboard with texture/detail, you are demonstrating solid construction in many areas. As such, I'll go ahead and mark this lesson as complete.