Jumping right in with your arrows, these are off to a good start. Most importantly, you're drawing them with a lot of confidence which helps to convey the fluidity with which they each move through the world. You're also doing a good job of compressing the negative space between the zigzagging sections, so as to demonstrate the way in which perspective applies to it as well as to the positive space of the ribbons themselves - although this is something that could be emphasized further to even better capture the sense of depth in the scene.

Continuing onto your leaves, that confidence carries over fairly well, especially in the upper-left and bottom-center leaves, although in the others it does feel a little less fluid, so the sense of how those leaves actually move through the world could be emphasized further. One thing I find helps, on a more subconscious level, to remind me of how the flow line specifically serves to capture an impression of movement, is to add a little arrow head at its tip. You'll even see this in the instructions for the exercise, though it's not something I suggest there explicitly.

Overall you appear to be adding edge detail and handling more complex leaf structures as instructed - with the edge detail being added on one piece at a time, each defining an alteration to the existing structure, rather than an attempt to largely replace or redraw it, and with your more complex structures demonstrating tight, specific relationships between constructional steps, so as to maintain that sense of solidity which comes from the simpler stages and carrying it through as complexity is built up. The only area where your work is a little lacking, is precisely where it doesn't really need to be that developed just yet - texture. Here I'm pleased to see the focus being on working with filled shapes of solid black (rather than trying to use hatching, or trying to paint the cast shadows on stroke by stroke without first outlining the intended shape). That said, there are a couple issues in how you're using those filled black areas:

• Along the two right-most leaves, you're filling in the backside with solid black. This effectively is similar to form shading, since we're darkening the surface based on its orientation in space. As explained here in Lesson 2, form shading should not be playing a role in our drawings throughout this course.

• For the others, you are on the right track, in terms of using cast shadows to imply the presence of specific textural forms, but the main thing you'll want to focus on as you move forward with this is to ensure that every cast shadow shape you define will require you to understand the specific nature of the textural form that casts it. That means looking at your reference to both identify and understand a given form - like a specific tube from the network of veins on the surface of a leaf. Understanding how that tube sits along the surface of the leaf, and how it relates in 3D space to the other tubes as well as the flat surface of the leaf around it, will help you better design each of the little cast shadow shapes you draw. I can see the beginnings of this, but there is a lot of oversimplification that likely comes from not spending enough time observing your reference image. That again is fairly normal, just keep it in mind when tackling texture in the future. It is, by nature, a time consuming thing.

Moving onto your branches, here you've done quite well, and I only have two quick things to point out:

• Be sure to extend each segment fully halfway to the next ellipse, as shown here. This helps achieve a greater overlap between the segments, which in turn provides a smoother, more seamless transition from one to the next (especially when we use that last chunk of the previous segment as a runway, overlapping it directly).

• When drawing the ellipses themselves, remember how their degree actually conveys a given circular disc's orientation in 3D space. You can refresh your understanding of this by reviewing the Lesson 1 ellipses video, but the jist of it is that the degree should not remain consistent as we slide along the length of a given tube. Instead, if the tube is perfectly straight, the degree will get wider as we move away from the viewer along the tube's length. On top of that, if the tube itself is bending through space, this will also influence the degree of each cross-sectional ellipse.

And finally, getting onto your plant constructions, as a whole I think you've done a great job. I'm seeing a lot of focus being placed on thinking through how each plant can be built up in stages, working from simple to complex - so in short, I'm seeing a lot of respect for the core principles of the constructional approach. I'm not really seeing you skipping through steps, and I'm pleased to see you drawing your forms in their entirety, even when in examples like the proteaceae, they overlap one another extensively. This is especially good because by drawing each form completely, we're able to better understand how they occupy 3D space, and how they relate to one another within that space - a core aspect of this course as a whole.

Normally I'd at least have a couple little things to call out, but in terms of the main focus of what we're dealing with right now, you're doing very well. The only issues present are the ones I've called out already, and in general they themselves are improving, being present in your plant constructions to a lesser degree.

So, I'll go ahead and mark this lesson as complete. Keep up the good work!