Starting with your arrows, they're flowing smoothly and fluidly, but you need to push the rate at which the gaps between the zigzagging sections compress as they move away from the viewer. You've got some arrows where the gaps stay roughly the same size, and some where they shrink a little (although not always consistently). Don't be afraid to let those sections of ribbon overlap one another, as you can see here.

You're largely doing a good job of carrying over that sense of fluidity to your leaves, capturing how they not only sit in 3D space, but also how they move through it from moment to moment. One issue I am seeing however is that you're zigzagging your more complex edge detail back and forth across the simpler edge, as though you're trying to replace it. As explained and demonstrated here in the notes. Each bump should be a separate stroke, rising off the original, simpler edge, and returning to it. In effect this means you're modifying that existing edge, not replacing it.

Also, with leaves like this one, make sure you're having those smaller leaves extend only as far as the bounds set out by the initial leaf shape. Right now you've got them spilling out to arbitrary distances - construction is all about making decisions in phases, first establishing how far out those smaller leaves will actually extend, and then sticking to it.

Continuing onto your plant constructions, these are largely well done, though there are a few points I want you to keep in mind as you move forwards:

• If you're drawing any sort of a cylindrical form (like a vase or a pot), make sure you construct it around a central minor axis line. This will help with aligning the ellipses.

• When drawing leaves, the first step - establishing the flow line - is really important. It's common for students to gradually put less and less thought into it as they move forwards, and this can make their leaves feel a little more flat, a little less lively, and I see that here and there in small ways in yours. Not a huge problem, but definitely something I picked up on. Always remember that the flow line represents how that leaf is going to move through space, and the leaf as a whole is built upon this foundation. One thing I do to help remind myself of the motion it is capturing is to draw a little arrow head at the tip of the flow line.

• When drawing texture, it seems like in many cases, you've drawn lines instead of focusing on the techniques covered in Lesson 2. We see this in a number of places, for example where you draw the veins of your leaves in the potato plant as branching lines, or where in your mushrooms you draw the vertical ridges along the caps of some of them as lines as well. The veins of your leaves are themselves forms, which cannot be represented as lines, simply because lines don't exist. Instead, we draw the shadow shapes they cast on either side. The ridges work in a similar fashion. The key here is to employ implicit techniques to imply the presence of those forms. One thing to force yourself to draw shapes rather than lines is to make a point of employing this two step process for every mark you draw as part of a texture. By forcing yourself to outline the shadow shape, then fill it, you'll never end up drawing those simple strokes that start at one point then end at another. You'll have to actually think about the shadow you're putting down, and how it relates to the specific form that casts it.

Aside from these points, you're largely doing a good job. The only other thing I'd recommend is always make a point of drawing in such a way that you take full advantage of the space available to you on the page. Don't try and cram loads of drawings onto a page. When drawing the first, use as much space as you need, as this will help you think through spatial problems and engage your whole arm while drawing. Then if you feel there's enough room for another, go ahead and draw another. If there isn't though, that's totally fine - you are not required to put multiple drawings on a single page.

I'm going to go ahead and mark this lesson as complete.