Starting with your arrows, you're doing a good job here of executing them with a fair bit of confidence, which in turn helps to establish the way in which each of these flows fluidly through the world. This carries over pretty nicely into your leaves, where you've captured not only how they sit statically in 3D space, but also how they move through the space they occupy.

Looking at the way in which you've built up edge detail, your results are a little mixed. You've got some cases like this one where you're doing a good job of building up each 'bump' along the edge with a separate stroke - though I would definitely extend each of these strokes a little to get more of a seamless transition from the previous edge, into this new addition, and back into the previous edge. Here however, you definitely fell much more into [zigzagging your edge complexity](), which results in a much weaker relationship between the different stages of construction. Always build up that edge complexity bit by bit, and if necessary, don't hesitate to add more steps so you can build up intermediary scaffolding, as shown here on another student's work.

I'm very pleased to see that you've tackled a few instances of more complex leaf structures - and you've done so quite well, maintaining precisely the kind of tight relationship between constructional steps that zigzagging tends to lack.

When it comes to adding texture - which as you've noted really isn't an important part of this lesson - it is worth pointing out that you actually end up focusing more on a general sense of 'decoration' rather than the more specific textural concepts we covered in Lesson 2. As a result, sometimes you end up focusing more on form shading (which as discussed here isn't something we'll be using in this course). In general, decoration is more of a vague, unclear goal to strive for - after all, there's no clear point at which one has 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.

So, when you do delve into texture, always remember that it is used to imply the presence of specific textural forms - not a general "sense" of roughness or bumpiness or what have you. Always ensure that you understand the nature of the specific forms that cast the shadows you draw. Of course - this is one of those things that will gradually make more sense over time, especially as we develop our spatial reasoning skills through construction (since texture really is just the same underlying concept at a very tiny scale, and represented through different kinds of marks).

Moving on into your branches, these are looking really good. You could stand to extend your edge segments just a little further to abide by the instructions a little more closely, but you're doing a great job of achieving smooth, seamless transitions, maintaining consistent widths on each tube, shifting the degree of your ellipses as you slide along each structure, and handling branching as well.

Lastly, I'm honestly very happy with your work on the plant constructions themselves. You've shown a great deal of fastidiousness in working through every individual component of each construction. While I definitely don't want to encourage students to go out of their way to tackle constructions that are all complex, you seem to have done so for each of these - but you also demonstrated the patience and care that they each required. Where many students will tend to rush themselves, doing whatever they can in a predefined set of time, you very clearly gave each drawing as much time as it required to be executed to the best of your ability, down to every little last stroke.

Not everything is perfect - for example, you're a little loose in adding edge detail to the leaves on page 6 for example (try not to redraw the entirety of a given leaf at every stage of construction - allow some of the earlier phases to shine through, so their greater solidity can be carried forward as you add more and more complexity to the structure). Still, I can see ample cases of you applying the principles from the lesson very effectively.

One thing that did catch my eye - a fairly minor point, but still worth mentioning - is that when your ellipses get larger, you do tend to struggle a lot more, like on the flower pot for this unnumbered page. This is totally normal, but do remember to both use the ghosting method and engage your whole arm from the shoulder when executing your ellipses, be they small or big. If we allow ourselves to slip back to the elbow when dealing with smaller ellipses, then we're more likely to do the same when those ellipses get larger and really need the greater radius.

The last thing I wanted to call out is pretty straightforward - I noticed that some of the reference images you included here were definitely on the low-resolution side. This can actually make things a lot more difficult without us realizing it, because whole our brains are able to fill in the gaps of information (where things get blurry) enough to be able to understand the gist of what we're looking at, it can really make drawing the thing a lot harder - especially earlier on in our development. Always strive to find higher resolution images wherever possible.

So! As a whole you've done a great job. I'll go ahead and mark this lesson as complete, so keep up the good work.