Starting with your arrows, you've done a pretty good job here of executing them with a great deal of confidence, which helps to push the sense of fluidity with which they move through space. This carries over quite well into your leaves, where you're capturing not only how they sit statically in that three dimensional space, but also how they move through the space they occupy.

When it comes to adding edge detail, your results are somewhat mixed. In most cases you're doing well for the most part, albeit I do see a bit of sloppiness as shown here, especially when you have to add a lot of separate marks. Remember - no matter how many marks you need to put down, each one demands as much time and care from you as you can give it, in order to be done to the best of your current ability.

I did note however that here you end up effectively redrawing the leaf structure as a whole when adding edge detail, rather than building it off the existing structure. You're also running into the common mistake of zigzagging your edge detail. And on this attempt at a more complex leaf structure, you end up making the mistake explained here.

Remember - what we're doing here is not putting down a rough sketch to use as a guide. We are effectively introducing a structure to the world, as though it were a simple leaf shape cut out of a piece of paper, and as we add edge detail to it or build up its structure, we are actively making physical changes to that existing form. If we want to add spikes to its edge, we're physically adding more pieces of paper to it. If we want to create a wobbly edge, we are physically drooping and lifting sections of its perimeter in 3D space. And if we want to cut into its silhouette, then the lines we're drawing represent the paths a pair of scissors would follow to cut it out, as shown here.

Continuing onto your branches, you're generally handling this well - just be sure to:

• Draw through all of your ellipses two full times before lifting your pen, as is required for all freehanded ellipses throughout this course (as discussed in Lesson 1)

• Remember that the degree for your ellipses should get wider as we slide further away from the viewer along the length of the branch, as discussed in Lesson 1's ellipses video.

And finally, your plant constructions are generally moving in the right direction, although there are still a number of points I want to call out in order for you to continue getting the most out of these exercises.

• First and foremost, there are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

• It's important that we always maintain nice, tight relationships between the different steps of construction, and avoid any sort of arbitrary gaps that cause those relationships to become loose. For example, when laying down a more complex leaf structure (where we first define the basic footprint of the structure first, then build up individual leaf structures within it), it's important that when you draw the individual smaller leaves, you have their flow lines stop right at the perimeter of the larger footprint shape, rather than stopping at some arbitrary point beyond it as we see on the leaves in the construction at the middle of this page. In general right now you do tend to maintain fairly loose relationships between the phases of construction that result in a weaker illusion that we're looking at a solid structure. It tends to remind the viewer that they're looking at lines on a page. This kind of issue arises as well when we use an ellipse to define how far out a flower's petals will radiate from the center (as shown in the hibiscus demo). Each flow line must then stop at the perimeter of the ellipse, and each leaf should then end at its corresponding flow line's tip, rather than leaving an arbitrary gap as we see on the petals for your amarylis on this page.

• When adding textural detail to your drawings, right now it seems you're focusing more on decoration - that is, adding what you can (usually from direct observation) to help make your drawing more visually interesting. This is unfortunately not what we're after here - I recommend rereading this section from Lesson 2, as it summarizes what we're doing in order to convey texture in our drawings.

• When constructing cylindrical flower pots, like the one for your chlorophytum on this page, be sure to build them around a central minor axis line to help in the alignment of your various ellipses. And of course, always be sure to build out the entirety of the structure, including as many ellipses as are required for that. This will usually include at minimum another ellipse inset within the opening to establish the thickness of the rim, and another to establish the level of the soil. And of course, as mentioned in regards to your branches, don't forget to draw through all of your ellipses two full times.

Now, there is certainly a number of things for you to keep in mind, but I feel you're still making enough progress to move forwards. Just be sure to give yourself lots more room for each individual construction, and take your time in the execution of each and every mark. Remember - the student's responsibility here is not to create perfect work. Nor is it to create good drawings, or pretty drawings. The student's responsibility is to merely invest as much time as they require to construct each form, draw each shape, and execute each individual mark to the best of their current ability.