In regards to your personal matter, my response here may not be the most comfortable thing to hear. I understand where you're coming from - you are not the only person out there who's said things behind my back, it's kind of par for the course for putting something out on the internet. For that reason, I do not expect, nor require (or really even desire) an apology or explanation for such things. I'd prefer to be left ignorant of the fact.

The other option, however, is to apologize, but an apology is not a vague thing. An apology is specific - it requires you to admit not to the generalities of what makes you feel ashamed, but to actually show the things you've said, so I can fully grasp the scope of what it is I am forgiving. And I certainly will forgive you - but I cannot do so as a blank cheque.

If I'm being honest, I'd rather not have to deal with all of this - you've mentioned it because you felt bad, and because you have a conscience, and if it is what you need to move forward, then so be it. But when it comes to such things, I prefer not to do them halfway.

Continuing onto your homework, your arrows are off to a good start. You're drawing them with a great deal of confidence, which really helps to push the sense of fluidity with which they move through the world. This carries over nicely into your leaves, where you're capturing both how they sit statically in the world, as well as how they move through the space they occupy.

When it comes to the addition of edge detail, I do have a couple things to suggest:

• Firstly, when it comes to construction in general, try to avoid redrawing the entirety of a given structure at each stage. Right now you end up effectively with almost a complete leaf at each stage, which results in the previous phases of construction being almost entirely replaced. Constructional drawing, as we're employing it here, actually relies a great deal on allowing the earlier stages to "shine through" wherever they're able to adequately stand for themselves, with the later stages focusing on adding marks only for the things that change - either individual protrusions, or cuts into the surface as shown here. The more of that earlier phase that can shine through, the more of the solidity that comes from its simplicity will carry forward as we build up complexity. As an extension of this, I noticed that your later phases of construction tended to have a darker line in many cases (although sometimes it was very slight so you might not even realize you're doing it) - try to keep the thickness of your lines from step to step roughly the same, so you're not tempted to redraw more than you need to.

• Secondly, in the more complex leaf that you did towards the bottom right, you have a tendency there of having your final edges come off at arbitrary angles from the tips of the sub-leaves. They should really be following the existing edges at least for a bit, before maintaining that trajectory and shooting off the structure, as shown here. That way they'll maintain a much tighter bond to the existing structure, and thus will benefit from its solidity.

Continuing onto your your branches, aside from remembering to draw through each ellipse two full times before lifting your pen, you're doing quite well. You should definitely make more of a point to extend your edge segments fully halfway to the next ellipse as shown here, but as a whole you've done quite well here, and I'm pleased to see that you're considering the degree of your ellipses as the branch turns through space.

Moving onto your plant constructions, your work here is very well done. I have only a couple recommendations:

• Again, avoid that temptation of starting light and getting darker as you progress. I'm actually only mentioning this because of this cactus where one of the ellipses looks really faint - although looking at the rest of your drawings, I think that might have just been your pen messing up, rather than an actual approach of starting faint and tracing back over the lines you want to commit to, which would in the context of this course be something to avoid.

• When constructing your cylindrical structures, like flower pots, be sure to do so around a central minor axis line, to help in the alignment of your ellipses. I am pleased to see that you're drawing each of the necessary ellipses however - including one inset within the opening to establish the thickness of the rim. Just be sure to draw through them two full times, and use the ghosting method to keep that stroke confident.

As a whole your work is progressing quite well. I'll go ahead and mark this lesson as complete.