Hello Haider4123, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.

Arrows

Let's start this critique by taking a look at your arrows which are coming along really nicely. Your linework is smooth and confident which helps give your arrows a nice sense of fluidity as they move through the world, on top of that your arrows make good use of the depth of the page due to your usage of foreshortening.

It's also good that you're making use of some really well and correctly placed hatching, as that helps reinforce the depth of your arrows. The same can be said for additional lineweight, but when adding extra lineweight on top of the overlaps don't forget to do so subtly, only go over your marks once.

Overall you're doing really well in this exercise, your arrows are looking very tridimensional and you're exploring the depth of your page well, the way you can keep pushing yourself further is by experimenting more with different kinds of arrows next time you attempt this exercise, while your arrows look good here they're still very similar, so make sure to push yourself outside of your comfort zone and explore all the different ways arrows can twist, bend and fold as they move across the world.

Leaves

Moving on to your leaves, the fluidity present in your arrows is translating nicely into these new structures. They're looking energetic as you capture not only how they sit statically within space, but also how they move across the world from moment to moment.

I've noticed that essentially none of your leaves have edge detail applied, with the exception of one. This is not a really big deal as you make use of edge detail much more thoroughly in your actual plant constructions, but keep in mind that as shown in the instructions for this exercise only step 4 of drawing leaves, is optional, thus make use of edge detail whenever possible as it'll help you capture the more subtle forms present in your structure.

Branches

Onto your branches they are coming along very decently as you're following the instructions for the exercise which allows you to create much more solid and tight looking branches, although there are a couple of things that can be addressed which will help you make even better branches.

While it's great that you're extending your edges in segments, you're not always extending them completely up to the halfway point, which makes it easier to create smoother transitions between your marks.

So don't forget how branches should be approached, by having each segment start at the first ellipse point, extending it past the second ellipse and fully to the halfway point to the third ellipse. Afterwards you'll start a new segment, making sure to place your pen at the second ellipse, making sure not to leave any gaps in between your edge and your ellipse, and not cut into your ellipse as it undermines the solidity of your forms. Once you're done, repeat this pattern until your entire branch is complete.

Your ellipses are so looking good as you're making the effort to always draw through them twice, you're also aware of the ellipse degree shift which helps you further the illusion of tridimensionality and volume in your branch structures.

Plant Construction Section

And finally let's analyze your plant constructions.

In general your constructions are looking fairly well constructed and tridimensional, they have a nice sense of volume to them and you're making use of the construction methods and techniques introduced in the lesson to really great effect, your attempts at the demos in particular are really well made.

Of course there are a couple of things that could be approached differently, or that if addressed will help you take your work into the next level, so look out for these things whenever you tackle these exercises again.

• You have a tendency to add too much lineweight around the silhouettes of your plant constructions sometimes, such as in here, this softens the distinctions between the forms and flattens the structure out somewhat, almost as if pulling a sock over a vase. As mentioned before, lineweight should be added subtly, with only a single line, and only with the purpose of helping clarify the distinctions between overlaps.

In this flower there's also a different problem, and it's the fact that you did not construct the petals with the leaf construction method, which stiffened the structure and removed some of structure's organic feeling.

In this other construction you didn't draw the inner stems of the flower with the branch construction method which creates some inconsistency in your forms and diminished their solidity.

Keep in mind that the methods and techniques introduced here are not suggestions or guidelines, they're tools which have the explicit purpose of helping you deconstruct these 3d objects, and then capture this tridimensionality in your 2d, flat piece of paper. They help you capture the characteristics of these objects and understand how these structures exist in 3d space - but they can only do this when they're employed, as such always make use of the techniques and methods introduced, you made use of a boundary line as well as edge detail in the flower construction which is really good - if those two techniques were employed alongside the leaf construction method you'll be able to get the benefits of all the techniques combined.

In this construction the red circle shows a part of your construction where you drew only the part of the petal that was visible to the viewer, and not the entirety of the petal structure.

• It's incredibly important for you to draw through all of your forms, as small or as unecessary as you might believe them to be, forms don't stop existing when they become obscured by other forms. Think of it as building a house and having a full X-ray view of the building, it's a tridimensional puzzle that cannot exist before the foundations are laid out, in that same vein tips of leaves or parts of a construction cannot exist by themselves, they still exist as full forms even when they're partially obscured by other objects. Therefore you should make sure you're always drawing forms in their entirety, this will help you develop your sense of spatial reasoning and make all of the relationships between the phases of construction in your work clear and defined.

Final Thoughts

In general these are some of the problems that hurt some of the solidity of your work and if addressed they'll help you take your work into the next level, as such I'm going to be marking this submission as complete. Good luck in Lesson 4.