Starting with your arrows, you've drawn these with a great deal of confidence behind your linework, which helps capture how they move fluidly through space. The only shortcoming here is that you need to apply perspective and foreshortening to them, ensuring that the gaps between the zigzagging sections compress as we look farther back in space. You can see this demonstrated here.

Moving onto your leaves, you've done a pretty decent job of carrying over the same sense of fluidity and movement, capturing not only how they sit in space but also how they move through the space they occupy. You're also handling the addition of more complex edge detail fairly well, although there is some room for improvement in getting those little bumps to blend more seamlessly into the edge from the previous phase of construction. Two ways in which you can do this include:

• Avoid having little "tails" that go just a little beyond the edge as shown here.

• I'm noticing a tendency to press a little harder when adding this next phase of construction, which makes those additions darker. Keep them roughly equal in weight/pressure to the previous phase of construction. We can always add line weight later, towards the end of the drawing, but that is done once most of the construction is in place.

Moving onto your branches, you've done a pretty good job here of following the steps of the exercise. I'm pleased to see that you've got nice, healthy overlaps between the segments, which helps them flow more smoothly and seamlessly together. Just one thing to keep in mind - try to avoid any cases where the width of the branch gets narrower or wider through its length. Maintaining an even, consistent width the whole way through will help maintain the illusion of solidity. That is a minor point however - overall you've done a solid job here.

Moving onto your plant constructions, the first thing that I noticed is that you appear to be treating your drawing as though it exists in two phases; the "underdrawing" (where you lay down your basic construction, like the ellipses in this mushroom) and the "clean-up pass", where you draw with a heavier line and trace back over parts of the previous construction to create the real drawing you want people to pay attention to. That is not an approach I want students to use in this course, as explained here in lesson 2.

Every drawing you do in this course is just an exercise. The focus is not on creating a presentable end result, but rather in what we learn from the process. When it comes to constructional drawing, I want you to treat every line equally, only leaving it to the end to add line weight. Furthermore, when we add line weight, it is to key localized areas to clarify specific overlaps between forms - not to replace entire lengths of line by tracing back over them. Tracing itself is something that should be avoided, because it results in us focusing too much on how the line sits on the page in 2D space, rather than how it represents an edge moving through 3D space. And of course, every single mark we draw should be done so using the ghosting method, ultimately with a confident execution free from hesitation.

For this cactus, that whole underdrawing thing definitely came into play quite heavily, resulting in a number of places where you opted to redraw the silhouette of a form you'd already constructed. This is an issue we actually get into much more in lesson 4, but I'll give you an overview of it here.

As explained in this diagram, when dealing with flat forms like leaves and petals, we are free to adjust the silhouettes (as long as we do so in a structured manner, building on top of the existing silhouette's structure). When we attempt to do this with a form that has its own volume, however, doing so immediately flattens out that form. This is because in altering the silhouette (which is a 2D shape that represents a 3D form), we break the connection between these 2D and 3D elements, leaving us with nothing more than a flat shape on the page. Instead, we need to build things up additively, wrapping forms around the structure that already exists.

This is where the 'exercise' really kicks in, and where it pushes us to really wrap our heads around how these forms relate to one another in 3D space.

Now, that issue is pretty much entirely focused on the constructions that involve forms with volume - cactuses, mushrooms, etc. You have other constructions that are far better, like this flower, where you employ the leaf construction approach quite well. You also show a strong tendency towards drawing through all of your leaves, which is great as it helps you to better grasp how they all sit in the world and relate to one another within 3D space.

So, while you definitely do need to restructure how you approach drawing (not going out of your way to make some marks lighter or darker than others), I'll leave you to sort that you as you move forwards, and will go ahead and mark this lesson as complete.