Starting with your arrows, these are drawn quite well - you've captured them with a good deal of confidence, establishing how they move fluidly through space. When doing this exercise though, I would focus on a more consistent, zigzagging trajectory (as shown here) - this will help you explore how perspective and foreshortening applies to both the positive and negative space of the arrow, and how you can convey a greater sense of depth in the scene (as shown here).

Continuing onto your leaves, I felt you did a pretty good job of focusing on how the flow line is captured with that same sense of confidence, establishing how it not only exists as a physical spine to the leaf, but also capturing how the leaf itself moves through space, subjected to the various forces of wind and air currents. There is room to continue pushing this even further though - one thing I find helps is to add a little arrow head at the end of the flow line to remind yourself of how it represents movement.

You're handling the addition of edge detail quite well, building directly off the existing structure, and you're approaching more complex leaf structures correctly as well.

Moving onto your branches, here your work strays somewhat from the instructions for this exercise. As demonstrated here, we start each segment at one ellipse, go past the second, and stop halfway to the third. The next segment then repeats this pattern, starting at the second ellipse, going past the third and so on. You appear to only be starting some of these segments roughly where the previous one ends. For those you have done more correctly, I also recommend that you try to use the last chunk of the previous segment as a runway, overlapping it directly before shooting off to the next target instead of drawing where the segment ought to have been. This will force you to take any mistakes into account, dealing with them directly.

It also helps in achieving a more solid, complete structure - if you look at your earlier mushroom construction on the left side of this page, the same issue caused you to end up with gaps which undermine the solidity of the resulting form.

Continuing onto your plant constructions, as a whole you've done a pretty good job here. There are a few little things I'll call out, but as a whole I'm pleased with your results and the trajectory here.

• When adding more complex edge detail to the flower on the right side, it appears that you drew with a single continuous line, zigzagging back and forth. As explained here, this is something you want to avoid. Always remember the principles of markmaking from Lesson 1 (specifically this one).

• For the cactus on the left side of the page, I noticed that you drew the base of the cactus as a form that was cut off. In general, draw each form as simply as possible, then define how they intersect with one another as needed. So for example, you'd approach that base cactus form as shown here. This also means drawing them more as ellipses to start. If you need to build on top of them to refine the form, you can do so as shown here.

• I noticed across many pages (like this one and this one) that you've been filling in the negative space between your objects with solid black. Don't do this - solid black shapes should be saved only for cast shadows (whether they're cast by larger constructed forms or smaller textural forms). You may have gotten confused by the potato plant demo where in this step I appear to be doing just that - filling negative space in. I'm not, however. Because of the camera angle being as it is, and the foliage being as dense as it is, I can establish that they're casting shadows straight down to cover the dirt below. This is further reinforced as I add cast shadows to all the other leaves later in the demo, providing context to the black shapes from earlier.

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