Starting with your arrows, very nice work pushing the sense of confidence behind your linework here - it goes a long way towards selling the fluidity with which these move through space. This in turn carries over nicely into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through the space they occupy.

When it comes to the addition of edge detail, by and large you're handling this well, except when you end up drawing a lot of little bumps in a single stroke, as we can see here. This results in zigzagging back and forth across the previous stage of construction's edge, which as explained here breaks one of the three principles of markmaking from Lesson 1, and should be avoided as it results in a weaker relationship between the phases of construction.

Additionally, with this more complex leaf structure, you end up skipping a step. Each of the individual arms (which are themselves composed of many smaller leaves) should have their own overall footprint established, rather than jumping straight into the smallest leaves. Basically, you'd be approaching it as shown here initially, and then build the smaller leaves upon that existing structure. The more complex a construction gets, the more individual steps it requires in order to ensure that we're never adding more complexity than can be supported by the existing structure.

Continuing onto your branches, your work here is largely well done. Keep an eye on the degree of your ellipses (as explained in the Lesson 1 ellipses video they should get wider as we slide farther away from the viewer along the tube), but all in all, you're handling these well and achieving good overlaps between the edge segments, which in turn helps to achieve a smoother, more seamless transition from one to the next.

Lastly, your plant constructions are generally well done, with just a few caveats:

• Many of the leaves on this plant tend to have overly complicated silhouettes without enough simpler structures to support them. Everything should be built up to. As shown here on another student's work, we can end up with many successive stages to achieve the complexity we desire.

• Avoid leaving gaps between the phases of construction. For example, for this daisy, you left some small arbitrary gaps between the end of the flow lines and the end of the petal itself. Each stage of construction is a decision being made, and every subsequent step needs to respect and reinforce those decisions, rather than contradicting them. So, each petal would end where its flow line does.

• For this one, just a small point - don't fill in the opposite side of the petal with solid black. This is more akin to form shading, which as explained here does not play a role in our drawings for this course. Instead, ensure that all of your filled shapes are reserved for cast shadows. Generally for these the shadow shape itself will be something new that you design and outline, before filling it in, rather than being an existing shape that merely gets filled in. It's the design of that shadow shape which helps to establish the relationship between the form casting it, and the surface receiving it.

To that point, I did want to commend you on the fact that you clearly understood how in the potato plant demo, the areas I was filling in with black were cast shadows, and so while your attempt at the demo didn't come out the same as mine, you made the correct changes to account for the difference in camera angle, rather than simply filling in that negative space with black (which many students end up doing, not realizing that it's a unique situation where the foliage is dense enough to cover all that dirt in between with shadow).

So! I've called out a number of things to keep an eye on, but all in all you're doing well. I'll go ahead and mark this lesson as complete.