Starting with your arrows, you've done a good job of drawing these such that they flow confidently and fluidly through space. I am noticing some clear hesitation when you add line weight though - remember that line weight should be applied using the ghosting method, just like any other mark, in order to keep that execution smooth. When you draw more hesitantly and trace carefully over an existing line, your mark will wobble, causing the underlying linework to appear stiff.

Moving onto your leaves, while overall you're doing these decently, I definitely feel like you're working a little more quickly and instinctually rather than thinking through every single mark you put down and considering both its purpose and how to execute it to the best of your ability.

The first thing that jumps out at me is what you did on the left side of the page - instead of drawing individual leaves, you drew something more complex and demanding, altering the nature of the exercise. I really can't stress this enough - don't change the instructions. Follow them to the letter, and focus on applying them as well as you reasonably can, planning and plotting every individual mark, instead of trying to make things more interesting.

In laying down the basic leaf shapes, you're doing pretty well - you're holding to that same fluidity as your arrows, so the leaves capture a sense of motion instead of appearing static and stiff. When you build up your further edge detail, you continue to do a good job in how you build it up over the simpler edge, and adding each stroke individually - although those additional marks definitely feel much sloppier than you're capable of, resulting in lines that don't cleanly come off the existing edge and return to it. They often overshoot or undershoot, leaving gaps or chunks of line that stick out along the other side, generally undermining the solidity of the overall structure. You simply need to take more time, and focus on what you're doing.

For the more complex leaf structure in the top right, you ended up skipping some significant constructional steps, as explained here.

Moving onto your branches, you're doing a decent job here, though you'll definitely want to continue working on getting those segments to curve towards the next ellipse - right now as soon as they pass the previous one, they seem to maintain the same trajectory even though the flow of the overall branch needs them to bend. One thing that'll help you get a handle on this is to purposely draw your next segments so they overlap the previous ones as shown here, instead of drawing where the previous ones ought to have been. This will make it harder, but by forcing you to deal with those mistakes directly, you'll improve more quickly.

Continuing onto your plant constructions, it's largely the same - overall you're following the right steps, but you're not necessarily taking enough time for each individual one to execute them to the best of your ability. There's some definite good here - for example, you're drawing through your forms, to more fully understand how each one sits in space, and how they relate to one another. You're not afraid to explore them in their entirety, and therefore aren't leaving lines out in favour of producing a clean "final drawing".

Along with the more general instruction to put more time into each individual mark, applying the ghosting method and all, there are a couple other things I want you to pay attention to:

• Firstly, your ellipses tend to be quite loose. Applying the ghosting method will certainly help, but make sure you're also engaging your whole arm while drawing them. When you draw them more from your wrist or elbow there's going to be more variation, causing them to feel "loose", helping you keep tighter control of them.

• Refrain from zigzagging your edge detail, as you do here on this petal. Every little bit of edge detail you add should be its own separate stroke, keeping with the third principle of markmaking.

• This one isn't actually mentioned in the lesson - it's something that becomes more relevant in the next lesson and onwards, so this isn't a mistake you made. When adding detail to a leaf, we can modify the silhouette by building up those additional lines that come off the previous edge and return to it. We can do this without any issue because the leaves/petals are already flat. When we try to do this to an object with more volume however, we end up flattening it out. Here are some notes explaining this phenomenon and how to work around it.

Overall you are definitely heading in the right direction, but I want to give you the opportunity to slow down and execute your marks a little more mindfully. I'd like you to do one more page of plant constructions.