Starting with your arrows, you've done a pretty good job here of executing these with a good deal of confidence, which helps a great deal in selling the illusion of how they move through the world in a fluid manner. This carries over nicely into your leaves, where you're able to capture not only how each structure sits statically in 3D space, but also how they move through the space they physically occupy from moment to moment. I'm also pleased to see that you've taken a good deal of care in building upon those structures, building up your edge detail one segment at a time, always adhering to the existing structure, and avoiding making big leaps to levels of complexity that cannot yet be supported with what is already present.

Continuing onto your branches, by and large you're applying the instructions here quite well - aside from a few spots where your segments end a bit early or start a little further than they ought to, you're generally extending your segments fully halfway to the next ellipse, and allowing for a healthy overlap between the segments to achieve a smoother, more seamless transition from one segment to the next. There's just one thing to keep in mind - while you are varying the degree of your ellipses in places, it's somewhat unclear as to whether or not this is intentional, or somewhat arbitrary. Remember that as a rule of thumb, the degree should be shifting wider as we move farther away from the viewer along the length of a cylinder. Here our cylinders are flexible tubes, so how the form actually turns also impacts this, but the farther = wider is a good baseline to work from.

Moving onto your plant constructions, there are some points of concern I'd like to draw to your attention:

• Always try to maintain tight, specific relationships between your phases of construction. So with the daisy construction on this page, your petals should stop right where the flow line does - there should not be any arbitrary gaps left between them. Every step of construction is a decision being made. When you've drawn a flow line, you're deciding how that structure moves through space and how long it should be - so moving forward from there, you should adhere to those choices, rather than contradicting them further along - Even if you end up deviating from your reference image, as that reference image is just a source of information, not something you're copying perfectly. You will inevitably make little mistakes that'll take you on a somewhat different path.

• When following along with a demonstration, you should do your best to follow it in its entirety - so for example, your attempt at the potato plant demo ends earlier than it should.

• For the leaves on this plant, you end up approaching the edge detail here very differently from the leaves exercise, and as such end up zigzagging your edge detail back and forth as a single stroke. I explain why this should be avoided in these notes. It is also worth noting that this approach of zigzagging back and forth directly breaks this principle of markmaking from Lesson 1.

• For that same plant, your degree shift for the flower pot's ellipses is also reversed - the base should be the wider ellipse, with the opening being narrower.

• One last point about that same construction - in this area you appear to mix the concept of line weight and cast shadows together. These are not the same, and abide by different rules. Line weight cannot be thick, and must be kept as subtle as possible, like a whisper to the viewer's subconscious rather than an obvious shout. You can read more about how to employ it in these notes, as well as here where we explain how line weight can be focused in the localized areas where forms overlap one another, to clarify those overlaps. Cast shadows on the other hand can be as broad and heavy as you wish, but they cannot simply cling to the silhouette of the form casting it. Cast shadows are cast onto another surface, and so you need to be thinking about how that shadow is actually resting on a separate object, rather than floating in space.

Given that the issues I've called out above are pretty straight forward, and exist largely in terms of the choices you're making, I'm going to leave you to address them on your own, and will go ahead and mark this lesson as complete.