Starting with your arrows, nice work drawing them confidently, and with a strong sense of fluidity, so as to represent how they move through all three dimensions of space. This carries over quite nicely into your leaves, where you're capturing not only how they sit in space statically, but also how they move through the space they occupy.

When it comes to building up more complex edge detail, you're generally doing a good job of building right onto the previous, simpler silhouette's edges, but there are a couple issues. Firstly, make sure you're not just redrawing an entirely new leaf - retaining some of the earlier structure will allow you to benefit from the solidity of its simplicity, whereas the leaf in the top right of your page basically replaces it entirely. It's still somewhat solid because of how tightly you stuck to the previous structure, but in general this should be avoided. Similarly, be careful when it comes to line weight - it's a specific tool, with a specific purpose, and using it arbitrarily can take your 3D structures and flatten them out into 2D, graphic shapes.

In general, try to reserve the use of line weight to clarify how different form overlaps in specific, localized areas. So for example, if you've got two leaves that sit one on top of the other, using line weight as shown here can help you establish which one is on top.

When it comes to building up your construction, try to keep the line weight roughly the same throughout. Then, once you're done, you can go in for an additional pass specifically to add line weight in the specific areas it's needed.

For your branches, while you're generally doing a good job, there's one main issue that is impeding the flow of your branch structures. The instructions state that you should be extending each segment fully halfway to the next ellipse. You appear to only be extending it slightly beyond the previous ellipse, resulting in a very limited overlap. That overlap is important - it allows us to transition more smoothly and seamlessly from one segment to the next.

Continuing onto your plant constructions, there's a bit of a mixed bag. You're definitely trying to employ the techniques throughout the lesson, and in some areas you're doing so to pretty good effect. The construction for this potted plant for instance is quite solid, although your line quality is fairly hesitant. This suggests to me that you may not be using the ghosting method as consistently as you should be (remember that it focuses its time on the planning and preparation phases, giving way to a confident, smooth execution regardless of whether or not the resulting stroke is accurate), or that you're not drawing using your whole arm. Both of these can result in wobblier lines.

Remember - accuracy isn't everything. Our goal here isn't to reproduce our reference images perfectly. It's to use those reference images as a source of information with which we can build up an object on the page. If your leaves end up following different paths, that's okay.

There are some places where you'r missing some constructional steps. For example, with this flower you dove into a slightly higher level of complexity, whereas you could have just focused on the general simple petal shape and then cut back into it as shown here. Of course, this is a very, very minor problem in this particular situation.

Another minor issue comes up in this hibiscus drawing, where you extended the ends of the petals themselves well beyond the tip of their corresponding flow line. Construction is all about making decisions, and then adhering to them - each step solves a separate simple problem, and as we work through the process, we ultimately solve the overall complex problem of producing this whole object. When starting with the ellipse that defined the perimeter of your petals, you did this correctly, ensuring that the flow lines themselves stopped at its edge. You kept that relationship between phases of construction tight and direct, rather than leaving gaps. The same is to be done when drawing the rest of the petal - it needs to end where the flow line ends, in order to maintain a solid relationship.

I did notice that in some of your drawings - for example, this mushroom - when you were particularly hesitant and uncertain, you'd draw something more faintly (like some of your ellipses), then trace back over it with a darker line to "commit" to that mark. This kind of approach is not something we'll be employing in this course. Every single mark you draw should be the one you commit to - tracing back over existing lines will only imbue them with greater hesitation, causing the stroke to wobble, and sacrificing the solidity of any structure you build off it.

The last thing I wanted to call out is just that your scans are particularly high in contrast. That's usually the result of one's scanner settings. Sometimes students will use the "drawing" presets, which specifically try to ramp up the contrast to create a clearer separation between white and black. For our purposes though, it diminishes the nuance of one's linework. Using "photo" presets tends to work better to preserve the subtle elements of your pages.

If you aren't sure how to change presets or change the contrast settings, I'd recommend taking pictures of your work with a phone camera in a well lit area - sunlight is ideal - instead.

Anyway, I'm going to assign some pages of revisions below where you can work to apply the points I mentioned. Remember:

• Keep working on applying the constructional steps, one by one, and maintaining tight relationships between them.

• Use the ghosting method for all of your lines, ensuring that your marks are executed confidently and using your whole arm. Avoid hesitating.

• Don't use line weight in an arbitrary fashion.