Starting with your arrows, you're definitely doing a good job of executing the initial linework for these with a good deal of confidence and fluidity, which helps to push the sense of how they move through the world. I did notice however that when you got into adding line weight, you did stiffen up a little bit, hesitating more as you traced along the existing linework, and likely pressing harder on the pen (which resulted in a more sudden jump in thicknesses in some areas). Remember that as you add line weight, you should still be holding to the same principles of markmaking as before - meaning, executing with a confident stroke, using the ghosting method, etc. This may sacrifice some accuracy, but it will be regained with practice, and in turn your line weight will come out more smoothly.

Continuing onto your leaves, these are a little mixed between some that carry over that same confidence and fluidity from the arrows, capturing not only how the leaves individually sit in space, but also how they move through the space they occupy, and some that are visibly stiffer and more rigid, not conveying as much information about the way in which they move through the world. It comes down primarily to how we treat each individual phase of construction. The first step - the establishing of that flow line - is all about capturing the manner in which the leaf moves through space, how it's pushed around by wind and air currents. So when you draw that initial flow line, be sure to focus on how it's establishing a sense of motion. I find adding a little arrow head at the tip of the flow line can help remind me of this.

In some cases you may come across leaves that, due to their orientation in a photograph, can look to be quite static and rigid in the reference image, while still giving you a vague, non-specific sense of motion and liveliness. In cases like this, you may find yourself having to exaggerate the fluidity of the flow line you're starting with, not to capture what is literally in front of you, but rather capturing something more to the heart of what the image conveys.

Moving on from there, you've done a good job when it comes to building up more complex edge detail and approaching more complex structures. I have just one suggestion - do not press harder as you move onto the next constructional step. Keep the line thickness roughly consistent throughout the whole drawing, and only add line weight towards the end if necessary, to specifically clarify how forms overlap in localized areas (which is less something you'll encounter with a single leaf, and more something you'll see with more complex objects where things overlap.

Looking at your branches, I did catch two main issues:

• Firstly, it seems you may not have followed the instructions for this exercise correctly. As shown here, each segment should be starting at an ellipse, continuing past the next one, and stopping halfway to the third ellipse. As every segment follows this pattern, that also means that the next segment would start at the previous ellipse, allowing for a healthy overlap between them. This overlap is important because it allows us to transition more smoothly and seamlessly from one to the next. Currently you appear to have the next segment start just a little before the previous one ends, resulting in a more limited overlap.

• Secondly, right now you appear to be drawing the ellipses to be roughly the same degree as you move along the length of a branch structure. As explained here in the Lesson 1 ellipses video, as we slide along the length of a cylindrical structure, the degree of its cross-sections will shift, getting wider as we move away from the viewer and narrower as we move towards them.

• I also noticed that you aren't consistently drawing through each of your ellipses two full times before lifting your pen, as discussed back in Lesson 1. Be sure to do that for every ellipse you freehand in this course.

Continuing onto your plant constructions, overall I'm fairly happy with how your work has come along here, though there are a handful of things I want you to keep in mind as you move forwards:

• For the hibiscus' petals' edge detail, I noticed that you had that edge detail cutting back and forth across the petal's simpler edge. Sometimes you'd cut into the silhouette, other times you'd extend out from it. As explained here, this sort of zigzagging back and forth should be avoided. Try to stay on one side of the existing edge.

• I noticed a tendency to let your lines get thicker as you progressed through a construction, starting first with linework that is quite faint, as though it was drawn with the intent of not making up part of the "final drawing". Please avoid this process when working through this course. As mentioned before, ensure that the line thickness remains relatively consistent throughout the constructional process, and come back in with a more limited application of line weight in key, specific areas at the end. Also, if a mark from a previous phase of construction is able to stand for itself, establishing whatever specific aspect of the construction without needing any new forms or masses to be added on, then it should be allowed to stand for itself without being traced back over with a darker stroke. Part of that means that your original construction lines should be drawn confidently, avoiding the fainter marks that we see in the bottom left corner of this page, and that in general you should avoid tracing back over existing linework. Tracing tends to encourage us to focus more on how our lines sit on the flat page, rather than how they represent edges moving through 3D space.

Aside from those points, your work is progressing well and I can see you clearly thinking about how to build up these constructions through the addition of new, separate, 3D structures, one step at a time. I'll go ahead and mark this lesson as complete.