Starting with your arrows, these are flowing fairly well through space, and drawn with quite a bit of confidence. That carries over reasonably well into how you're drawing your leaves, although there are some things I'd like to point out in regards to how you're adding edge detail.

Constructional drawing - the exercise we're doing here throughout the rest of this course - is all about breaking the process of mark making into a series of smaller problems that can be built one on top of the next. When we draw the simple leaf shape in step 2 of the instructions, we're creating a scaffolding that establishes how this leaf flows through space. Then when we add the more complex edge detail, we do so by building right onto that simpler edge. It's not a loose suggestion that you can kind of follow - it's the physical structure onto which working on top of.

Zigzagging that more complex edge back and forth across the previous edge as you did here results in a very weak relationship between the two phases of construction. Instead, as explained here, you should build each little bump as a separate stroke coming off and returning to that simpler edge. This helps you stay in line with the third principle of markmaking from Lesson 1.

When we zigzag the edge instead, we're basically trying to solve the same problem that has already been solved, while also adding more complexity to it. By abiding by the part that had already been figured out, we can focus instead on just the additional bit, which in turn makes it easier to sort out.

Moving onto your branches exercises, it seems you're following the instructions reasonably well, in terms of extending your segments fully halfway to the next ellipse. You've also got quite a few that flow quite nicely as they turn (though in a few the turns get a bit sharp). Try to avoid the slight tendency to end up with little pinchy sections that get narrower through their length. Maintaining a consistent width helps the branches feel more solid.

Moving onto your plant constructions, aside from the points I raised before, you are doing a pretty good job. I do have a few things to draw to your attention though:

• With your daisy drawing on this page, just remember that as mentioned before, every phase of construction solves a problem - and you don't want to contradict that solution by solving it again. So when you draw that original starting ellipse, it defines the extent to which each petal will extend - so each flow line should extend to its perimeter. From there, you then draw each petal so it ends right at the end of each flow line. Try not to leave gaps, because gaps are arbitrary, and we're after tight, specific relationships between phases of construction.

• When drawing flower pots - like on the bottom right of this page, be sure to construct those cylindrical forms around a central minor axis line to keep the ellipses aligned, and to draw each and every ellipse required in full. Don't cut them off, or try to draw partial curves. For the base and the top, draw full ellipses (and draw around them two full times before lifting your pen, as discussed in lesson 1). Also add another ellipse inset within the top one to give the rim a sense of "thickness". Add other ellipses wherever they're needed - like to define the level of the soil, and any other features the flower pot may have.

• Prioritize giving each and every drawing as much room as it requires, before worrying about getting lots of drawings on a page. I don't see too many issues here, but there often is the risk of drawing so small that we make it harder for us to think through spatial problems, or to engage our whole arm while drawing. Drawing bigger helps get us used to these things, so first focus on drawing each one as big as it needs to be, then assess whether there is enough room on the page to include another. If there is, go for it, but if there isn't, that's okay too.

All in all you're moving in the right direction. The last thing I want to mention is just an overall emphasis on trying to be a little less loose and a little less sketchy. Focus on the idea that every form you're drawing is meant to be solid - the tighter the relationships between your marks and phases of construction are, the more solid the results will feel. That is your main priority, before you worry about anything like detail or texture.

And of course - when it comes to texture, do make sure you're working strictly in cast shadow shapes. Avoid just putting down lines, and even go so far as to make your textural marks using this two step process to keep from giving into the temptation of just putting down a single stroke.

So! Keep these points in mind as you move ahead. I'll go ahead and mark this lesson as complete.