Starting with your arrows, your linework here is quite confidently drawn, capturing a good sense of fluidity. One thing I would however recommend with this exercise is to stick to the zigzagging pattern shown in the exercise instructions, and avoid having them follow inconsistent patterns. You've got a few along the left side that zigzag nicely, but a number of others end up petering off in their tails. Also, there definitely was more room for a few additional arrows on this page - always take care to make full use of the space available to you, in order to get the most out of every exercise. That doesn't mean filling each page with a ton of tiny drawings, just being sure to make sure of the space that is available.

Continuing onto your leaves exercise, you're doing a pretty decent job of capturing the same sense of fluidity and motion that you did in your arrows, capturing not only how the leaves sit in space, but also to an extent how they move through the space they occupy. I do think that the fluidity can be exaggerated further - one trick I like to use is to add a little arrow head at the end of the flow line to remind myself that it represents the movement of the leaf - but all in all you're making good progress.

I'm also pleased to see how you're approaching your more complex edge detail in some of these (like those in the top right corner), but I did see a leaf in the middle of the page where you did, at least partially, zigzag your edges back and forth. Always build each individual bump onto the existing structure, and don't attempt to replace the results of the previous phase of construction.

Continuing onto your branches, while they're coming along decently, there are two issues:

• You don't appear to be drawing the overlap between the edge segments correctly. In the instructions, you are told to draw your first segment from one ellipse, past the second, and halfway to the third. Then your next segment goes from the previous ellipse, past the next, and repeating the pattern. This results in a healthy overlap that you are lacking, because you appear to only extend each segment slightly past the previous ellipse, then start your next segment a little ahead of that previous ellipse. The overlap is important, because it'll help your segments flow more smoothly and seamlessly from one to the next.

• The other issue is simply that you're drawing all of your ellipses with roughly the same degree. As explained here in the lesson 1 ellipses video, the degree of the ellipses along a cylindrical structure will shift wider as you slide away from the viewer.

Continuing onto your plant constructions without texture, you are generally doing a good job here. My only concern is with this one towards the end. Most notably, you start to get pretty sloppy when it comes to smaller elements - like the little dandelion-like head, where you've pretty much just resorted to more arbitrary scribbling. Never scribble, never rely on randomness in these constructions. Every single mark you put down should be the result of planning and forethought, and your only responsibility throughout this course is to take as much time as is required to execute every component of each drawing to the best of your current ability. Additionally, when adding the larger jagged extrusions on the leaves, the cases where you added one such extrusion at a time, then built on top of them, were correct - but where you tried to add multiple protrusions simultaneously (like a repeating pattern before returning to the simpler structure) were cases where you attempted to add more complexity than would have been supported by the existing scaffolding. Always add complexity one step at a time.

Continuing onto your other plant constructions, you are still doing a pretty good job, but I have a few more things to call out:

• On this page, you appear to be using line weight and cast shadows in ways that kind of mixes the two of them together. They are both very useful, effective tools, but they serve different purposes and have different restrictions. Line weight serves to help clarify particular overlaps between forms in specific, localized areas. Line weight also must be kept very subtle - like a whisper to the viewer's subconscious, rather than a very obvious shout. Lastly, line weight is able to run along the silhouette of a given form. Conversely, cast shadows can be as broad and heavy as you want them to be, but they cannot run along the silhouette of a form. They must be cast onto another surface, and if that surface is a fair distance away, then the cast shadow's offset in space must reflect that. So, if we look at this flower in particular, you've either got a lot of very thick line weight (which would be incorrect), or cast shadows that are clinging to the silhouettes of the forms casting them (again, incorrect). Along the bottom edge you've got really thick edges that couldn't be cast shadows, because there's no surface to receive them. Now you could be intending the darker sections to be the underside of the given petal, but in that case it'd be form shading (where the surfaces facing away from the light are darker) which as discussed here back in lesson 2 shouldn't be included in your drawings for this course.

• Remember that detail does not mean decoration. It's easy to make that mistake at first, with students looking for some kind of motivating direction for how they approach their details. Decoration, unfortunately, isn't really that effective - it doesn't establish an end goal, so it's hard to determine when you're done. Instead, what we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

• Extending off the previous point, remember that all textural information should be captured as stipulated in the texture section of lesson 2. That means your marks aren't just arbitrary things you see in your reference - they each represent shadows being cast by the textural forms present. In order to capture those, you need to understand the nature of the form casting them. So, as I mentioned before - don't just scribble or put marks down arbitrarily. You're not just drawing what you see - you're being asked to understand what you see, and draw based on that information. That goes for the ridges on your flower petals too - think about the shadows they cast, not just about capturing them in line. For each of your cast shadows, you can employ a two step process - first outlining them entirely, then filling them in. This will help keep you from the temptation of just painting your shadows on as individual marks.

• In the same page we've been discussing thus far, it looks like the ellipses you've drawn for the big core branch are pretty rough. You're not drawing through all of them, and their degree doesn't match the orientation of those circular cross-sections in space. This relates back to the second point I raised in regards to your branches exercise.

• As a rule, use your filled areas of solid black only for cast shadows. So for instance, you did a great job on the flower petals on this page, where the shadows are cast on neighbouring petals, but the leaves are way overdone to the point that it looks like you might be trying to capture local colour (like where the leaves themselves are of a darker surface colour). Treat everything like it's covered in the same white colour, and keep your lighting consistent.

Now all that said, I do still think you're doing a good job overall. There are a lot of things for you to keep in mind, and I highly recommend that after you've read this critique, you come back after a few days and read it again just to make sure you don't forget anything. Beyond that, I will go ahead and mark this lesson as complete.