Starting with your arrows, they're flowing confidently through space, but there's one key problem that I called out when critiquing your Lesson 2 work, but that has not been fixed. Currently, while the ribbon of your arrow gets narrower and narrower as we look farther back into space, the spacing between your zigzagging sections remains entirely consistent. Perspective applies to both the positive space of an object (like the width of the ribbon) and the negative space (the distances between its various components) in the same way. Therefore the further back we look, the more those gaps should compress. This is demonstrated here.

Moving onto your leaves, you've done a pretty good job here of drawing leaves that flow fairly well through space. You've also done a good job of building up further edge detail in a way that follows the previous phase of construction (the simpler edges) directly, rather than treating it as a suggestion. I'm very pleased to see this. Do however note that the additional detail you added to those edges appears to be a lot wobblier and less confident than the others. This may be intentional, but it definitely makes the lines feel a lot more hesitant - so try and focus on getting those marks to be drawn more confidently in order to uphold the solidity of the overall leaf.

There are a few key problems with your branches to be addressed:

• First of all, you're not drawing through your ellipses.

• When doing these in the future, try to keep the width of the branches more consistent.

• It seems that you're often not extending your line segments fully halfway towards the next ellipse. The way this works, your segments should start at the first ellipse, go past the second ellipse, then stretch halfway to the third ellipse. Then your next segment starts at the second ellipse, goes past the third ellipse, and stretches halfway towards the fourth ellipse. This will give you more room to actually aim/orient the segment towards the next goal properly.

• Also, since you're getting some pretty significant separation between your segments, it may help to try and use the last chunk of the previous segment as a runway for the next segment. That is, overlapping it directly overshooting off towards the next goal. This will force you to actually deal with the situations where they fly off track, rather than being able to draw your next segments where the previous ones ought to have been. It'll force you to improve on that faster, since right now those mistakes are visible, but not otherwise affecting your process enough to really have as significant an impact on you.

• On this page, we can see you treating the "simple" leaf shape as more of a suggestion, letting the smaller leaves constructed within there push past them more loosely. Remember that every step of construction is you making a decision. In this case, that simpler leaf shape established how far out the leaves would extend in space. The flow lines for those leaves should have extended to that edge, and the smaller leaves should have only extended as far as their flow lines.

With the remainder of the plant constructions, you're moving in the right direction to be sure and there are many elements of your process that are correct, but these do feel rushed in a lot of ways. For example,

• Your leaves have a tendency to not be fully closed - you tend to leave gaps and holes where lines don't meet one another properly. We can see a lot of this on the last page.

• Contour lines, where you use them, seem a bit half-assed, and come out kind of shallow as shown here.

I suspect that you may be a little too focused on getting into details, and as a result, you're not putting as much time into making every individual mark using the ghosting method, and really investing the time in the right places to create a more solid underlying structure. You definitely do get pretty invested in the detailing, so all this suggests that you're thinking ahead to that more interesting phase of the process, causing you to work on construction while being more distracted.

On the topic of detail, I can see you leveraging your cast shadows effectively in a number of places, though there are some key issues here as well:

• You're still relying a lot on outlines in cases like the caps of these mushrooms. As discussed back in Lesson 2, you should not be using any outlines to convey texture. Use cast shadows only.

• In a few cases, including this page, you end up getting into a lot of form shading rather than cast shadows. [As explained here back in Lesson 2](), you should not be getting into form shading at all. Form shading is specifically where a surface gets lighter or darker based on whether it is turned towards or away from the light source. The heavy black filled shapes are reserved only for cast shadows, which are where one form blocks the light source, and casts a shadow onto the surface of a different surface. So form shading goes on the form in question, cast shadows go on a separate form.

• Also, related to the previous point but it warrants its own - when you draw shadow shapes, you should be outlining the shape itself first, then filling it in. You appear to be just scribbling shadows in, without a specific intent for how the shape itself should be designed. Before putting any mark down, you need to consider the specific parameters and requirements for it. Don't try and work through this stuff instinctually - these exercises are all about developing your instincts, so you have to be more conscious and purposeful with every action you use now. Using your instincts to train your instincts.. doesn't really make sense.

One last thing, about your drawings in general - you tend to draw many of these things quite small on the page, which limits your brain's capacity for spatial reasoning. Take advantage of the full amount of space available to you on the page. Draw bigger. It'll engage your brain's capabilities more, and also engage your full arm when executing your marks.

So! You've got some important progress in the right direction, but there are some key adjustments we need to make with how you approach these drawings, and mark making in general. You absolutely exhibit the capacity to draw your lines with more forethought and planning, but you have a tendency to drop it when other more interesting and challenging tasks fall into your lap. At the end of the day, a line is just a line, and it will always require the same amount of focus and attention in order to be executed correctly.

Before I mark this lesson as complete, I'd like you to do some additional pages, which I will outline below.