Getting in with your arrows, you're off to an excellent start. This is specifically due to the confidence with which you've drawn these, which really does a great job of establishing the fluidity with which these arrows move through all three dimensions of space, representing a sense of force. This carries over very nicely into your leaves, where you've captured not only how they individually sit in space, but also how they move through the space they occupy.

I'm also pleased to see that you've applied the constructional principles fairly well with your more complex leaf structures, though I definitely would have wanted to see many more attempts at adding edge detail. This is a required part of the exercise, but you only really delved into it for two of them. While these do employ it fairly well, that isn't necessarily enough to definitively state that you wouldn't in other circumstances make certain mistakes, as it's not uncommon to see students who've played with edge detail a ton, and only have an issue come up once or twice.

Continuing onto your branches, there are two main areas where these can be improved:

• Firstly, you need to be following the specific way in which the instructions state to lay out your edges - starting the first at one ellipse, continuing past the second ellipse and stopping halfway to the third, then repeating the pattern for the next edge by starting at the second ellipse, continuing past the third and stopping halfway to the fourth. This results in a healthy overlap between them, which helps to achieve a smoother, more seamless transition from edge to edge.

• Secondly, keep in mind that as we slide along the length of a cylindrical structure in 3D space (like these branches, as well as the organic forms we encountered in Lesson 2), the cross-sectional slices will actually get wider as they move farther away from the viewer along the form. The reasoning for this is discussed in Lesson 1's ellipses video so check that it out if you're uncertain as to why this is the case.

I am pleased to see that you've done a good job of sticking to branch structures that maintain a consistent width - this helps to eliminate unnecessary complexity in the structure, which makes it more solid (which in turn makes it something that can be built upon).

Moving onto your plant constructions, by and large you've done a pretty good job here. By and large you're applying the principles of construction to build up your various plants from simple to complex, and showing a fair bit of patience and conscientiousness throughout the process. I have just a few fairly minor suggestions to keep in mind:

• This isn't something you did wrong, rather a recommendation going forward - try to reserve your areas of filled black for cast shadows specifically, whether they're being cast by larger structural/constructed forms (like we employ in the potato plant demo, having the leaves casting shadows) or in the context of texture to imply the presence of textural forms. As discussed back in Lesson 2, and it's actually pretty easy to accidentally slip into the same kind of thing as form shading. For example, if we look at this one where you appear to have filled in one side of some of those leaves in order to distinguish them from the other, as well as where you've filled in the side of the rightmost stem - these are both cases of form shading because they're deciding whether the surface should be lighter or darker based on its orientation relative to some arbitrary element - like a light source, or just whether it's on one side or the other of the same object. Whenever you use a filled area of solid black, be sure to always outline it first with your fineliner, and in so doing, design it specifically such that it establishes a relationship between the form casting it, and the surface receiving it. If of course there's no such form casting it, that'll let you know that you're probably slipping into form shading.

• Be sure to construct any cylindrical structure around a central minor axis line, to help you in aligning all of the ellipses that would be required for that structure - which beyond the basic ellipses for a cylinder could include another one inset within the opening to define the thickness of the rim, and one more at the level of the soil to provide the stem of the plant with something to intersect with. Admittedly you did this quite well on this page (although on the left there you've got the ellipses getting narrower as they move farther away from the viewer - they should be getting wider). Conversely, here you skipped some of those elements (but you did get the ellipse degree shift correct!)

Aside from that, you're making good progress. I'll go ahead and mark this lesson as complete.