Starting with your arrows, for the most part these are pretty good - drawn with a lot of confidence so as to really sell the sense of fluidity with which they move through the world - although there are a few little hiccups where your linework gets wobbly and uncertain. This is very clearly just a one-off mistake however, so I won't read too much into it.

That sense of confidence and fluidity does largely carry over to your leaves, helping to establish not only how they sit statically in 3D space but also how they move through it - although there are a few concerns that I have regarding how you've tackled this exercise:

• First and foremost, I think you got kind of distracted when it comes to the last step of construction, which concerns adding texture. Rather than getting into texture as described back in Lesson 2 (where we convey it using implicit marks, shadows that are cast by specific textural forms, with each shadow being designed to establish the relationship between that form and the surface around it), you seem to be focusing much more on a general sense of "decoration". That is, making the drawing look more visually pleasing. Decoration is unfortunately not a very clear goal to pursue, as there is no point at which we've added "enough" decoration. 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.

• You do have a number of cases where you're adding edge detail fairly well, as individual additions to the existing silhouette, one bump at a time, rising off the existing edge and returning to it to create a seamless adjustment of the silhouette itself. That said, I did notice one case where you jumped right into the mistake of skipping constructional steps as explained here. As with all of the others, you should be starting with a simple leaf silhouette, then as shown in that example, build out each individual arm as a separate leaf structure, before merging them all together.

Continuing onto your branches, there are a couple of points I'd like to correct here, though you are by and large doing a decent job with this exercise:

• You'll want to review the specific way in which the edge segments are to layer over one another. As explained here, each segment starts at one ellipse, continues past the second and stops fully halfway to the third. Then the next segment starts at the second ellipse and repeats the pattern, allowing for a healthy overlap between them (about half the length of the spacing between the ellipses), which helps to make for a smoother, more seamless transition from one to the next.

• Remember that your ellipses here should be shifting towards a wider degree, the farther away from the viewer we move. If you're unsure as to why that would be, review the Lesson 1 ellipses video, as I explain the principle with some props there.

Moving onto your plant constructions, the first thing that jumped out at me is the fact that you appear to have used some kind of white-out or corrective fluid on your drawings. Needless to say this is not allowed, and you should not do this going forward. Mistakes happen. Sometimes we get careless, sometimes we don't pay enough attention, and sometimes we do everything right but the mark still gets away from us. It is at the very core of this course to accept those mistakes, to recognize them, and to learn from them.

Now, aside from that, you are largely doing decently but I do have a few additional suggestions:

• Looking at your potato plant drawing, I definitely noticed a lot of more hesitant linework, as well as a tendency to leave more gaps in the silhouettes of your leaf forms (gaps undermine the illusion that we're looking at a single, cohesive, solid form, so they should be avoided). You also don't appear to be drawing each leaf form in its entirety, opting instead to cut them off where they're overlapped. In this course, be sure to draw all of your forms in their entirety, so we can better understand how they sit in space, and how they relate to one another in three dimensions.

• To that same potato plant drawing, be sure that when you have some of your forms cast shadows, that they should all cast shadows (within reason anyway). Inconsistencies where some forms cast shadows and others don't undermine the believability of a drawing.

• It's also worth mentioning that cast shadows and line weight are two different things - there are some places where you appear to be conflating the two - here for example, where that thick shadow appears to be clinging to the silhouette of the leaf. Each of these two useful tools follows their own rules - line weight must be subtle, like a whisper to the viewer's subconscious, and runs along the silhouette of a given form. Cast shadows can be as broad as required, but actually must be cast onto a separate surface. The shadow shape itself will actually separate from the form casting it as the surface it's cast upon gets farther away.

• I should also mention that it is best to use line weight towards a specific end goal - you seem to use it more arbitrarily throughout your drawings. Generally it's a good idea to use line weight specifically to help clarify the overlap between different forms. To achieve this we can limit its use to the specific, localized areas where those overlaps occur, otherwise blending it back into the existing linework as seen here with these two overlapping leaves. Keep in mind that line weight is not a tool to simply clean up your drawing, and to darken the areas you wish to make your "final drawing". Every mark you put down serves as part of the final drawing, or the structure helping to get there, and so everything should be drawn with confidence.

• When constructing cylindrical flower pots, like the one here, be sure to construct them around a central minor axis line to help keep the various ellipses aligned. Also be sure to include the various ellipses to build out the entirety of its structure - you are using some there, so you're headed in the right direction, but along with an ellipse to define the level of the soil as you've done there, be sure to include another ellipse inset within the opening to help define the thickness of the rim.

Now I am admittedly somewhat concerned about your linework. In some areas it's confident and fluid, and in others it's hesitant and wobbly. In some places you allow individual marks to stand for themselves, while in others you feel it necessary to trace back over them (adding hesitation and stiffness to them). Also, there are a lot of marks that appear to be half-made.

• If your pen is dying, grab a new one. You can still use pens that are on their way out for warmups, or for other art (a faded fineliner can be quite useful), but not for your work in this course.

• Every structural mark should be drawn using the ghosting method, with adequate time invested into the planning and preparation phases before a confident, smooth execution free from all hesitation. Executing a mark confidently may result in a mistake - that's fine. You still need to commit to the action, and allow the chips to fall where they may.

You do have a number of things to keep in mind here, but by and large I think you're good to move onto the next one, so I'll go ahead and mark this lesson as complete. Just be sure to get your linework down a bit better - committing more of your warmups to those Lesson 1 lines exercises should help with that.