Starting with your arrows, there are a couple things I want to draw your attention to here:

• Firstly, your linework is a little hesitant here. It's not too far off, but I can definitely see that as you're executing the marks, you're thinking about where your pen is meant to go, and at least partially trying to steer it with your eyes. Employ the ghosting method, so you have an opportunity to plan and prepare for your intended marks, and when you execute the stroke, do so with confidence to achieve a smooth, continuous line without wobbling of wavering. Being sure to execute the marks using your whole arm from the shoulder, which serves as a sort of stabilizer, should also help.

• For a lot of these, I'm noticing a tendency to keep the spacing between the zigzagging sections - that is, the negative space between the lengths of ribbon as they're drawn on the page - either relatively consistent, or to actually have sections get wider where the ribbon is farthest from the viewer. Remember that as explained here, in order to convey a strong sense of depth in the scene, you want those gaps to get narrower as they move farther from the viewer, encouraging more overlap between the different zigzagging sections.

Fortunately as you get into your leaves, I think you do a better job here of capturing that sense of fluidity, establishing not only how the leaves themselves sit statically in 3D space, but also how they move through the space they occupy. I'm also pleased with how you're approaching building up both more complex edge detail, as well as the more complex leaf structures.

Continuing onto your branches, there are a few notable issues here:

• You do not appear to be consistently drawing through your ellipses. As discussed back in Lesson 1, you are to draw around the elliptical shape two full times before lifting your pen for all ellipses we freehand throughout this course.

• The degree of your ellipses is currently remaining very consistent - remember that as discussed in the Lesson 1 ellipses video, they should actually be getting wider as we move farther away from the viewer along the length of this cylindrical structure.

• One of the main focuses of this exercise is about building up complex edges with separate strokes, and so the manner in which these strokes flow from one to the next is quite important. It seems to me that you did not follow the instructions on how to do this as carefully as you should have. Each segment should start at one ellipse, continue past the second, and stop fully halfway to the third, with the next mark starting at the second ellipse and repeating this pattern. This is in the interest of providing a healthy overlap between the segments, which allows for a smoother, more seamless transition from one to the next - something that your branches missed out on with their far more limited overlap.

Moving onto your plant constructions, I think that while overall you're moving in the right direction, there are definitely some considerations that are hindering you from getting the most out of these exercises:

• As I mentioned already, be sure to draw through all of your ellipses two full times before lifting your pen. You have a lot of ellipses here that come out rather unevenly - especially the larger ones - and this will help you maintain a smoother, more consistent shape.

• When drawing contour lines, remember that their purpose is to create the illusion that they are running along the surface of the form in question, so they can help to describe that surface. Thus, contour lines that float above the surface of the form as we see here do not really help as much in this regard.

• There are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

• When constructing cylindrical structures - like flower pots - be sure to construct them around a central minor axis line to help keep all of those ellipses aligned to one another. Additionally, be sure to include as many ellipses as are required to flesh out the major structure - for example, it helps to include another ellipse inset within the opening to imply the thickness of the rim, along with another to establish the level of the soil if applicable. And lastly, remember that the farther cross-section will be the wider one - so for example, you've got the contour ellipses getting narrower as we slide down the length of the flower pot, but they should actually be getting wider, with the base (the farthest part from the viewer) being the widest.

• When drawing plants that have a lot of overlapping petals, be sure to draw each one in its entirety. I'm actually not sure if you are doing this or not - there are a few edge cases where you definitely aren't, but for the rest with the drawings being as small as they are, it's not always clear. So, I figured I'd offer this suggestion just in case. Drawing each leaf or petal in its entirety helps us better grasp how they each sit in 3D space, and how they relate to the forms around them.

I would like you to do some limited revisions, so you'll find them assigned below.