Your question is actually addressed here in the notes for the ghosted lines. You can check there for a more in-depth explanation, but the answer is no - you should be rotating your page for each mark, and do not need to worry about being able to draw lines in every possible direction at this stage. It'll only keep you from learning far more important and useful things. While learning to draw lines in every direction is useful (and actually develops naturally to a point, as you practice), you may want to give it more targeted focus later, just not in the scope of the work you do for this course.

Onto the critique! Starting with your arrows, you're doing a great job of drawing these with a good sense of confidence and fluidity, and I'm pleased to see the varying rates of foreshortening as they apply both to the ribbons themselves, and the negative space in between the zigzagging sections. You're doing a good job of capturing how the arrows move through space, and capturing the depth in the scene.

That fluidity carries over nicely into your leaves, where you're capturing not only how they sit statically in space as real, physical objects, but also how they move through the space they occupy at the whims of the air and wind.

You're also handling the addition of edge detail very well - you're building upon the existing structure from the previous phase of construction, and introducing those bumps/variations one stroke at a time, ensuring that they become a smooth component of the existing silhouette, rather than a visibly separate line on a flat page.

Continuing onto your branches, here I think you may have misunderstood the specific instructions for this exercise. As shown here, there should be a more significant overlap between the edge segments as we transition from one to the next - specifically because it makes those transitions smoother and more seamless. Each segment should start at an ellipse, go past the next ellipse, and stop halfway to the third. Every subsequent segment therefore goes back to the previous ellipse, giving us a healthy overlap between the strokes.

Fortunately I'm not too worried about this - I think it's definitely something you need to address, but I trust that with it pointed out here, you'll understand how to handle it better in the future and in your own warmups.

As a whole, your plant constructions are coming along quite well. You're showing a fair bit of care in the execution of your marks - for example, while it's not perfect, you do appear to be mindful of trying to get your flow lines to stop at the perimeter of the initial ellipse in your daisy drawing, which shows that you're cognizant of the tight relationships we aim to achieve through the different phases of construction. Throughout your drawings, you do apply the principles introduced in the lesson effectively, and your results come out fairly solidly as a result. I do have a few things for you to keep in mind, but they are mostly pretty minor:

• Try to avoid drawing small as you did here. When doing the first drawing of a page, give it as much room as it needs, not worrying about what else you intend to add to that page. This will ensure that your brain is given ample space to think through spatial problems, and that you're making it as easy on you as you can to engage your whole arm while drawing. Once that first drawing is done, you can assess whether there is enough room for another. If there is, certainly add another - but if there isn't, it's okay to just have one drawing on a given page. For the most part you've done a good job of this, but this page definitely stood out, especially with all of the empty space.

• In this potato plant demo, you stopped early in following along with the steps, and as a result, you actually ended up miscommunicating in the drawing. You filled in the negative space between the leaves - in the demonstration, these areas were spots on the ground that were so densely covered with leaves that the entire space was covered in shadow. In order to convey this correctly however, we need to include the shadows being cast by the other leaves in order to provide a consistent impression of what the viewer is looking at. Without it, it just looks like you made the arbitrary choice to fill the negative space in with solid black.

• When drawing your flower pots, specifically cylindrical ones, be sure to construct them around a central minor axis line. I also did notice that you do need to work on your larger ellipses. You tend to either neglect to draw through them two full times before lifting your pen (as instructed back in Lesson 1), or you end up drawing them quite loosely. Be sure to use the ghosting method to help with this.

Aside from those points, your work is coming along quite well. I'll go ahead and mark this lesson as complete.