Starting with your arrows, these are definitely drawn with a good bit of confidence, although there are a few things to keep in mind:

• Don't forget to compress the spacing of the gaps between your zigzagging sections as shown here.

• When adding any kind of line weight, do so with confident strokes using the ghosting method. Drawing confidently will allow your strokes to taper on either end as shown here, which helps them blend into the marks beneath. It'll also help you avoid the stiffness that occurs when you draw more slowly. Additionally, keep in mind that adding line weight should not be done by pressing particularly hard. You want to keep your line weight subtle, not a huge jump but a very minimal one. We can achieve this by just keeping a normal level of pressure while going back over the line with another confident stroke.

Moving onto your leaves, you're generally doing a good job of capturing a sense of motion in how you draw them, but there are definitely issues in how you've approached the more complex parts of this exercise. To start, when it comes to detail/texture, it's important that you understand that it does not simply mean "decoration". It is not a stage where you get to go to town on a drawing to make it look impressive.

Where construction is all about establishing for the viewer the information they'll need to understand how they can manipulate an object in their hands, texture is all about conveying to them what they need to know to understand how it'd feel to run their fingers over the surfaces of the object. We explored this at length in the texture section of lesson 2, where we expressly focused on the idea that all our textural marks are shadow shapes, cast by the textural forms on those surfaces. This means that in order to capture them, you do need to think about the forms themselves. Often times cast shadows are going to be pretty small, especially when the form itself does not raise very high off the surface. So, ending up with huge swathes of solid black is hard to achieve without additional context for it. In this case, you should be much more subtle with your texture.

On your second page I can definitely see you playing more with shadow shapes on that leaf in the top left, but here you're still focusing more on filling in the perceived negative spaces between your leaf's veins, instead of actually thinking about the specific shadows those vein forms would cast. This is definitely moving in the right direction (especially compared to the other veiny leaves where you captured those veins as individual lines), but when it comes to texture, remember that it is not about simply filling in spaces. It's about identifying the relationship between the form and the shadow it casts. Thinking about how if the vein were bigger and fatter, how that would make the shadow broader in response. Looking at the shadow shape should give us information about how the vein exists in three dimensions.

Looking at the maple leaf you drew, you largely sidestepped the leaf drawing technique - you established a basic leaf shape initially, but then set it aside as you built up the rest. This is somewhat understandable, except for the fact that in the lesson there was a demonstration on how to tackle this exact kind of leaf. As you can see there, we use a separate leaf shape for each 'arm' of the maple leaf, then merge them together. Be sure to read through all of the material available to you to ensure that you are applying the concepts in the lesson as well as you can.

Moving onto your branches, this is a bit of a mixed bag, but it is mostly moving in the right direction. There are just two things I want to correct you on:

• Firstly, keep the width of your branches consistent throughout the entirety of their length. Changing the width here adds complexity to the branch, which in turn undermines the illusion of solidity we're trying to create.

• Make sure you extend your edge segments fully halfway to the next ellipse. This allows for more of an overlap, which as shown here helps us transition more smoothly and seamlessly from one segment to the next.

Moving onto your plant constructions, I definitely think you're a bit preoccupied here with decorating your drawings and making things that look impressive, rather than focusing on each drawing as exactly what it is: an exercise in spatial reasoning. We're not creating these drawings to have something to show off, but rather to explore how we can combine simple forms to build up more complex objects.

It's very easy to focus too much on how you're going to make your drawing "look good", and to lose track of the simple matter of just making your forms feel solid and three dimensional.

That said, before I talk about construction, there are a few things I want to call out about your general approach to texture/detail:

• Remember that our filled black areas are reserved only for cast shadows. Not for filling in the surface of an object, like you did with the venus fly trap, and not using it for form shading as you did along the stem of the daisy, or all over your daffodil.

• Remember it's all about texture, which is all about the forms. In your tulip, you don't appear to have actually considered what textural forms were present on the object - you just put down arbitrary lines. Similarly, don't rely on randomness. In the soil for your cactus, it appears like you were trying to make up an approximate pattern, instead of actually observing and studying the actual textural forms present there in your reference.

• It's very easy to abuse line weight. Line weight itself should always be kept subtle - a gentle shift in thickness, not a big noticeable jump. You're whispering to the subconscious, not shouting in someone's face. Also, line weight should be focused only in key areas to clarify specific overlaps between forms, not used to reinforce a form's entire silhouette. So looking at the daisy again, going around each petal in full like that is definitely overdoing it. The way you handled the texture of the daisy's center was well done though.

• In general, with texture/detail always follow the rules of "less is more". You don't need to cover things - just focus on what you're trying to communicate to the viewer. As mentioned before, it is not about decorating it and making it look good. It is ALL about communicating specific information, so you need to be aware of what information you're trying to convey.

Now, for the most part as far as your construction goes, it appears to be largely decently done. That is at least, from what I can see under the heavy and erratic attempts at detail. There are however some shortcomings:

• For the caladium, you don't appear to have applied the basic leaf construction technique and jumped into greater levels of complexity far too soon. Construction is all about building from simple to complex, solving the basic issues like how the leaf as a whole flows through space, before breaking down how to add a wave to its edge.

• Again, for the caladium's flower pot, the cylinder is incorrect. The top end (which is closer to the viewer) will always have a narrower degree than the end that is farther away (the base). You've got that relationship reversed. I'd also recommend constructing this around a central minor axis line to help align those ellipses.

Overall, I would definitely like to see how you approach drawing these plants when you aren't being distracted by detail. So, I'm going to assign some additional pages below.