Starting with your arrows, you're doing a great job here of executing your linework with confidence and a strong sense of fluidity. One thing I would like you to keep in mind however is that as we look farther back, the gaps between the zigzagging sections of our ribbon should compress, as shown here. This will help you convey a stronger sense of depth in the scene.

Continuing onto your leaves, you're generally doing a good job of applying the same confidence and fluidity to your leaves here, although I think it could be pushed a little farther to better capture not only how the leaves sit statically in space, but also how they move through the space they occupy. Think of that flow line as being representative of the force of the wind and air as it pushes the leaf around.

Another thing I noticed was that you appear to draw the earlier phases of construction with a fainter stroke, and then increase that line weight as you progress. This can result in us actively trying to replace the simpler edge with a whole new, more complex one - rather than simply building up the bumps individually. It can encourage us to zigzag our more complex edge detail back and forth, as explained here. Instead, try and keep the thickness of those lines roughly the same throughout all the phases of construction. Every subsequent bump or spike of edge detail should be drawn separately, as an independent extension of, or cut into, the silhouette of the flat leaf as shown here. Note how only the parts that change are drawn, and that even the earlier marks make up part of the "final" result.

Moving onto your branches, your work here is generally coming along well. You're maintaining consistent, even widths for your branches, which helps keep them simple and provides a strong illusion of solidity. I did however notice that you aren't quite following the instructions in regards to how the edge segments should be overlapping one another. There are a number of places where you end up with a more limited overlap.

As explained here, each segment starts at an ellipse, goes past the second ellipse, and stops halfway to the third. This allows for a healthy overlap between them consisting of roughly half the distance between the ellipses, which in turn helps achieve a smoother, more seamless transition from edge to edge. While I'm not concerned about your transitions - they're fairly smooth - it is important that you take care to follow the instructions precisely as they're written.

Finally, continuing onto your plant constructions, for the most part you've done a pretty good job. You're building up your complex objects through the combination of simple forms, and are generally avoiding jumping ahead to greater levels of complexity without the appropriate structure to support them. There are however some points I'd like to call out:

• When drawing leaves or flower petals, make sure that you're drawing them all in their entirety, even where they overlap or intersect other forms. So for example, in these daisy drawings, completing the petal forms by having them actually cut into that central mass will provide you with a form we can understand more completely as a three dimensional entity, and will also provide you with the opportunity to establish how they intersect with the other forms around them. Similarly, on the plant at the top of this page, most of these leaves were drawn only partially, cutting them off where they were overlapped by another. Each of these drawings serve as an exercise in spatial reasoning, so the focus is on understanding how each form occupies space, and how they relate to one another within that space. The leaves continue to exist even where we cannot see them - so it's important to draw them in their entirety, so we can fully understand how they exist in the world. You definitely do a better job of this later in the set.

• Every step of constructional drawing is built upon the one preceding it. For example, the flow line of a leaf or petal defines how it moves through space, and how long it's going to be - so the simple petal silhouette that follows should also match its length by ending right at the flow line's tip. In a lot of your drawings, you tend to leave a more arbitrary gap between the end of the flow line and the end of the petal. While this may simply happen sometimes (because we're not perfect, and sometimes we miss our intended marks), it's important that we at least intend to have these things line up.

• The point I raised about building edge detail directly onto the existing structure, one bump or spike at a time, definitely continues to be relevant throughout your plant constructions. You have a tendency of drawing that earlier phase of construction to be much fainter, as though you intend for it to be removed or erased, and then end up replacing it in its entirety with a darker stroke. Keep all those line widths consistent. In the end, you can always come back to add more line weight, but specifically with the aim to clarify how certain forms overlap others. Line weight should be focused in localized, specific areas where those overlaps occur, as shown in this example of two overlapping leaves. It is not meant to separate "unnecessary" parts of the drawing from the "true" "final" result.

• When constructing cylindrical flower pots - or really any sort of a cylindrical structure - it helps immensely to do so around a central minor axis line. This will help you to keep all the ellipses required aligned to one another. Also, remember that the degree of those cross-sectional ellipses will shift narrower as they get closer to the viewer, and wider as they move farther away. So for instance, on the pot in this page, you seem to be sticking to roughly the same degree for all of the ellipses, the base should be wider and the top should be narrower.

Anyway, all in all you do have areas where you need to tighten things up and follow the instructions a little more closely, but as a whole you're progressing well. I'll go ahead and mark this lesson as complete.