Overall I think you've demonstrated a great deal of growth and improvement over the course of this lesson.

Starting with your arrows, these are looking pretty good - they flow confidently through space, and convey a sense of fluidity. Do remember however that as the ribbon itself gets narrower due to perspective, the spacing between the zigzagging sections should also shrink at the same rate. Some of your arrows do this well, but others tend to ignore the impact of perspective on negative space somewhat.

Moving onto your leaves, you're doing a pretty good job of capturing these with an element of flow to them, though they're just a touch less confidently drawn than your arrows, so always think about drawing those confidently, pushing those lines to flow through space and convey the sense of how they move through the space they occupy, rather than how they sit statically in the world. That isn't to say they're not well done - they are flowing pretty well, but I think you can push them a bit further. Also, you're doing a good job of building up the edge detail, adhering to the structure of the previous phase of construction and treating it like a sort of scaffolding intended to support whatever further detail you build up to.

With your branches, I am seeing a bit of a hiccup - specifically in how you get your individual segments to connect to one another. You appear to be somewhat inconsistent. Sometimes you follow the rules, extending your lines fully halfway towards the next segment, then starting the next segment back at the previous ellipse so as to allow for a nice healthy overlap between them to allow for a smoother transition from one to the next. Other times you start the next segment further down. So to this point, I want to emphasize the correct approach for this exercise. Here's the approach you should be using. The overlap between them is critical, because this exercise is all about getting those segments to flow smoothly from one to the next, so making a point of treating the last chunk of the previous segment as as ort of 'runway', overlapping it directly, helps to achieve this.

One other point - your ellipses all appear to have the same degree. As we probably discussed back in Lesson 2, contour ellipses convey the orientation of that particular cross-section through the width of their degree. You can see this illustrated here. The degree should gradually get wider or narrower along the length of the form.

Moving onto your plant constructions, you definitely show a lot of growth over the set. There are some issues along the way which I'll address, but by and large you're showing a lot of improvement. Here are some things to keep in mind:

• In your bonsai tree and the plant that follows, you fill the negative space between your forms with solid black. This is incorrect, though I understand that you saw something similar in the potato plant demo. The difference is that in the potato plant, it is assumed that the shadows being cast by the leaves are covering the full surface of the ground beneath, resulting in a solid black shape. Those solid black areas are still cast shadows, and therefore they're still being projected onto an actual surface, whereas in these two drawings you've just filled empty air.

• Your construction with this one is simple, but entirely appropriate. You've thought through all of the forms present, and constructed them one by one without straying from the supporting scaffolding that is currently present. It may not be particularly glamorous, but this drawing is well done as far as being an exercise for this lesson.

• This drawing has a lot going for it - the way you've started approaching the individual berries in each cluster is a great start, although you're still working very much with line instead of creating shadow shapes as discussed in the texture section of Lesson 2. One thing you can do to help you avoid this is, when drawing marks that are part of a texture, to follow this process. That is, instead of drawing single strokes for your lines, drawn actual outline for the shadow shape you're creating - even if it's very thin. Draw its bounds, then fill it in. With this two part process, you'll always be drawing shapes, rather than falling into the trap of drawing strictly with line.

• Another thing I wanted to mention about the drawing above is that while it's generally structured pretty well, your linework is kind of sloppy. I know that given more time for each individual stroke (for the planning and preparation phases of the ghosting method which should be applied to each and every mark we draw), you could have done much better, with lines that were more specific and better thoughtout. Instead, here we have a lot of gaps where leaf forms aren't fully enclosed, and lines that are drawn far more quickly. Remember that every single mark you draw deserves as much time as it needs to be done to the best of your ability. You're not working against any kind of a deadline or timeline - it's your choice to work more quickly than you reasonably should that makes things look rushed.

• When tackling plants with a lot of repeated elements like this one, you can absolutely choose to just focus in on a specific part. In doing so, you'll give yourself far more space to think through the spatial problems involved, which will in turn allow you to benefit more from the exercise as a whole.

• With the last few drawings - especially the second and third last - you demonstrate a lot more attention to your reference image, breaking past the most simple aspects of construction and really identifying the subtler, more complex levels of construction that can be achieved once the simple structures are put in place. You're still doing things like filling in negative space (rather than recognizing that all filled black shapes are cast shadows, and therefore need something to be cast upon, and need to relate to the forms that cast them), but you're showing considerable improvement overall, and a greater comfort with the material.

So. I'm going to go ahead and mark this lesson as complete. Make sure you put more effort and time into each and every mark you draw to ensure that you don't rush through marks instinctively. You may see other artists putting marks down quickly, and this may make you feel that relying on your reflexes and instincts like this is the way artists are meant to work. But what you don't see is the inordinate amount of time and practice those artists put in to do things patiently, investing as much time as each and every mark required, in order to build up those instincts. What you're doing now is training your instincts so eventually you can work like that. But if you employ your instincts while attempting to train them, you're just going to end up with a messier result.