Starting with your arrows, your linework is definitely confident and smooth, which conveys a good sense of motion. When it comes to line weight though, I'm noticing that you're trying to apply it somewhat arbitrarily, leading to a lot of additional lines and clutter. Try to reserve your line weight where forms overlap one another - like where an arrow folds back over itself - to help clarify which part is in front, and which is behind. There's no need to reinforce the line weight in a clear stretch of ribbon that isn't overlapping anything.

Continuing onto your leaves, we're going to look at this in a few sections:

• Firstly, you're doing a good job of capturing the sense of fluidity and motion over from the arrows, capturing not only how the leaves sit statically in space, but also how they move through the space they occupy.

• When adding more complex edge detail, it's a bit of a mixed bag. You've got some spots where you are properly constructing each bump/alteration to the leaf's silhouette with a single edge that comes off the simpler silhouette and returns to it as shown here, but you've also got some cases where you're more zigagging back and forth across that edge as shown here. As a whole I think you understand what you should be doing here - making individual alterations to that silhouette and maintaining its overall impression as a closed structure, but you need to make sure that you're thinking about that at all times, and that when you do choose to work subtractively - that is, cutting into the simpler silhouette - that what you're drawing are the cut lines themselves, the paths you might cut along with a pair of scissors, not that you're redrawing a new leaf inside of the existing shape.

• The main issue with your work for this exercise is the amount of erratic scribbling you've employed here. I cannot stress this enough: this kind of chaotic markmaking is not something you're going to be employing, at all, in this course. Not for sketching, and not for texture. Everything we do here is the result of planning, preparation, and forethought. Every single mark is weighed in terms of what it's going to contribute to a construction or drawing, and what it contributes. Texture itself should be drawn exclusively through the addition of specific cast shadow shapes - that is, filled shapes we draw based on the presence of specific textural forms, understanding the nature of each of those forms, and then drawing the shadow they might cast. To avoid haphazardly just painting on stroke by stroke, try to use a two step process of first outlining the intended shadow shape, and then filling it in.

Continuing onto your branches, for the most part these are well done, although your linework is a touch sketchier than it should be. It's completely normal to have the overlapping sections, and even to end up with a few tails that stick out, but there are some areas here and there where you exceed beyond that and show that you might not be planning all your marks as intentionally, and may sometimes be giving into the temptation to just draw marks more instinctually. Remember - the ghosting method should be applied for all of these lines, going through the planning and preparation and execution phases each. It takes time, it demands a lot from you, but that is what is required of you in this course.

Moving onto your plant constructions, overall you're moving in the right direction, and I think you're going to do fine throughout this course - but there are a few things I want to point out to course-correct you a little to ensure that you do benefit as much throughout the lessons as you can:

• First and foremost, I appreciate the enthusiasm for drawing lots of plants on each page, but drawing each thing to be so small can have its own problems. Our first priority is ensuring that each drawing is given as much room on the page as it requires - limiting how much room a drawing is given can have the negative impact of impeding our brain's spatial reasoning skills and making it harder to engage our whole arm while drawing. These things can lead to a bit of sloppiness which in turn impact our mindset as we draw, causing us to be even sloppier than we otherwise might be. For example, this plant being so small, resulted in all of its leaves being tiny. As a result, you didn't apply the things you'd learned in the lesson (all the constructional steps designed to break each leaf down from a single complex problem into smaller ones that build upon one another). You did attempt to apply those principles somewhat, but entirely differently from the specific, structured way that was explained. So, make sure that your first priority is just a matter of ensuring that each object is given as much room as it needs on the page. Once finished, you can assess whether there is enough room for another, and if there is, go ahead and add it. Then assess again. If there isn't enough room however, it's okay to have just one drawing on a page as long as it is making full use of that page.

• I think you're going into these drawings with a certain expectation of how long each one should take you. A lot of your drawings feel very rushed - like you're trying to get into the feel of sketching quickly, rather than applying the principles from the lessons you've completed thus far. As discussed before, your only responsibility is to complete each drawing, and each component of every drawing - down to every line - to the absolute best of your current ability, regardless of how long it takes. A drawing might take you half a sitting, it may take the entire sitting, it may take multiple sittings across a whole day, or it may take you multiple days. Any of these are fine, so long as each drawing, and every mark, is given its due. Otherwise you would not be submitting the absolute best of what you're currently capable. This applies for the construction-only drawings as well - after all, construction is the majority of what we're doing here, and taking the time to establish solid structures is dependent on each mark being executed with planning and forethought, followed by a confident and singular stroke.

• A minor point - when drawing your flower pots, be sure to construct them around a central minor axis line to help you align all of the ellipses that will make up its structure. Also, even if a form gets cut off because you couldn't capture the whole thing, be sure to cap it off - so for example, if the lower section of a flower pot gets cut off, cap it off with an ellipse, to keep the structure enclosed and solid.

• When it comes to texture, remember what I mentioned before - every mark should be intentional. Observation is important, and you're great at that, but it is just one step. Observation helps you identify the textural forms that are present, and then it is your understanding of those forms that determine the nature of the shadow shapes you actually end up drawing.

I'm going to assign some revisions below to ensure that you stay on the correct path, and that you don't fall into these habits as you move forwards.