Starting with your arrows, the first thing I always look out for is how the student is approaching drawing that initial linework - and I'm pleased to say that your linework is smooth and confident here. You get a little more hesitant when adding line weight, but I'm glad to see that you're adding that line weight only in localized areas where overlaps occur (like where the ribbon folds over itself) - just be sure to employ the ghosting method here, focusing on achieving a smoother, more confident execution. I know this will undermine your accuracy a little, but that's okay - that'll improve with practice.

There are two concerns I wanted to point out however:

• Firstly, the sense of perspective here is somewhat limited - be sure to further compress the spaces between the zigzagging sections as they move back in space, as shown here, and also be sure to make that ribbon get narrower as it moves back as well, as shown here.

• Secondly, you're pretty sloppy with that hatching. Don't draw any of your marks haphazardly - take the time to figure out where you want them to fall first, then execute them. When it comes to hatching, it's best not to have it stop at some arbitrary distance - have it stretch across the surface from edge to edge.

Continuing onto your leaves, I think that when you're tackling the simpler leaves in the center of the page, you're doing a great job of capturing how those leaves flow confidently and fluidly through space, establishing not only how they sit statically in the world, but also how they move through the space they occupy. When you get into the more complex leaves towards the top left/right and bottom right however, I think you end up thinking ahead a few steps, and think less about how that initial flow line is meant to capture how the leaf moves through the world, resulting in more stiffness. Always work through your constructions one step at a time.

You're handling the addition of edge detail decently, building it onto the existing edges rather than trying to redraw whole chunks of line. One recommendation I do have however, is that try to have your additional marks flow out of the existing edge, and back into it, rather than starting suddenly and creating a break in the flow. I've demonstrated what I mean here.

Continuing onto your branches, I feel that you may have missed some of the instructions here. You're currently starting each segment where the previous one ends, but the instructions instead push students to create an overlap between them, allowing for a smoother, more seamless transition. As shown here, you should be drawing each edge from an ellipse, past the next ellipse, and halfway to the third - then starting the next segment at the second ellipse, going past the third and stopping halfway to the fourth.

Moving onto your plant constructions, I definitely notice the change that comes from you taking a bit of a break from Drawabox. While taking a break is fine, there are a couple very important things to remember:

• As mentioned in Lesson 0, you're meant to be continually practicing the exercises you've tackled in previous lessons as part of a regular warmup routine in order to keep sharpening those skills, and to avoid them from getting rusty. Ideally this is something you'd continue to do even when taking a break.

• Of course, that's not always feasible, so if you aren't able to do that, then it is very important that you review the past material when you start up again, and get back into the swing of doing those warmups (being sure that you're following those instructions correctly), instead of barreling forward where you left off. Once you feel comfortable going through the warmups after a few days, or even a week, then you can start back up where you left off.

Anyway, your plant constructions are a bit of a mix, with some coming out quite well, and others having some notable issues.

There are a few thing I want to call out about this first construction.

• At its core, it's pretty well done - your linework could be a bit less hesitant, a bit more confident, but it still holds to many of the principles of construction, though not all.

• You currently have somewhat arbitrary gaps between the end of each leaf's flow line, and the end of the petal itself. When doing constructional drawing, maintaining tight, specific relationships between every phase of construction is critical - so you should not have any gaps, and instead have the leaves end where the flow line does.

• In the bottom left of the plant, you've got a leaf with a little nick cut out of it. You jumped right into drawing this more complex shape for the leaf - it should have started as simply as all the others, with the little cut being added afterwards.

• Make sure that you're constructing any cylindrical structures - like the flower pot - around a central minor axis line to help you align your ellipses to one another.

Jumping down to the third construction, this one was pretty sloppy overall, but there's one key issue I want to stress. Here, you only drew each leaf as far as it was visible, opting to cut them off where they were overlapped by another structure. In this course, you're going to be drawing each and every form in its entirety. This helps us to better understand how each one exists independently in 3D space as a whole structure, rather than just how the drawing itself exists on the flat space of the page. After all - these forms continue to exist even where we cannot see them.

As you move further through the lesson, there's definitely improvement - plant 5 is coming along pretty well, although I think cutting the stem off to be shorter would have allowed you to have drawn the head of the flower much larger on the page. Drawing bigger is really helpful - it gives us more room to both think through spatial problems, and also makes it easier to engage our whole arm while drawing (leading to more confident, fluid linework). Drawing smaller on the other hand makes these things more difficult, leading to more clumsiness.

Plant 6 especially came out well, with a strong sense of fluidity to those petals - though again, draw each form in its entirety (you cut off some of the overlaps, though not all of them), and make sure you avoid those arbitrary gaps between the end of your petals and the end of the flow line.

As a whole, you're definitely moving in the right direction, but it is clear that you've neglected certain aspects of how this course is supposed to be used, and I feel that had you kept up with those warmups, or reviewed and gotten comfortable with the previous exercises from Lessons 1 and 2, along with the box challenge, you would have ended up with even better results here.

So, I'm going to ask that you take some time to review those previous exercises in the manner discussed in Lesson 0, and then complete a few revisions listed below.