Starting with your arrows, nice work! You're executing these with a great deal of confidence, which really helps to push the sense of fluidity with which they move through space. This carries over quite nicely into your leaves, where you're not only capturing how they sit statically as 3D elements, but also how they move through the space they occupy. One thing I do want to note however is that you should avoid increasing the thickness of your lines as you push through the phases of construction - I'm noticing a tendency towards making your edge detail darker and thicker, which in turn encourages you to redraw more of it than you strictly need to.

Edge detail is effectively being added to a physical structure - it's added where it's necessary, with extensions of that silhouette in some places, and physical cuts into its surface in others - but you should be avoiding drawing long continuous stretches that add a bunch of different bits of edge detail, as per these instructions on zigzagging edge detail.

Continuing onto your branches, the main thing you need to keep an eye on here is the manner in which the edge segments themselves are being laid out. As shown here in the instructions, we follow a very specific pattern. Each segment starts at one ellipse, continues past the second, and stops halfway to the third, with the next repeating the pattern from the second ellipse. This allows for a healthy overlap between the segments, which in turn allows us to achieve a smoother, more seamless transition from one to the next. Yours very frequently fall short of that halfway point, and less frequently will start ahead of the ellipse, both of which minimize that overlap.

Moving onto your plant constructions, overall you're doing pretty well here. I think you're holding to many of the core principles of construction quite well, although there are a number of points I want to call out to help keep you on the right track.

• Firstly, 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, generally splitting each page into two down the middle. 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. Splitting each page evenly also runs into issues where one drawing may not need a whole half of the page, but the other may need more, but cannot have access to it. 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 is worth mentioning that your later pages are definitely better at this, and you're definitely improving in terms of how you make use of that space.

• On the left side of this page, I can see petals with a little heart-shaped cut at their ends. This extra cut is additional complexity that should not be added while establishing the initial silhouette, but rather in a subsequent step, in order to adhere to the core concept of building up from simple to complex, and avoiding adding more complexity than can be supported at any given moment.

And lastly, while this isn't a big problem through most of your work, it is present and becomes more notable on that last page. When you hit the "detail" phase of a construction, you appear to focus on a more ephemeral goal of "decoration" - that is, doing whatever you can to make your drawing appear more visually pleasing. Unfortunately there is no clear point at which one has added enough decoration, so it's not a very clearly defined goal to pursue.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

That about covers it. I'll go ahead and mark this lesson as complete.