Starting with your arrows, you're off to a good one - you're executing them with a great deal of confidence, which really helps to sell the sense of fluidity with which they move through all three dimensions of space. This carries over very nicely into your leaves as well, where you're capturing not only how they individually sit in 3D space, but also how they actively move through the space they occupy from moment to moment.

When it comes to adding edge detail to those structures, I'm pleased to see that you're working with individual marks (as opposed to outright redrawing the entirety of each leaf's edge in one go), although you are still quite susceptible to zigzagging your edge detail back and for the existing edge, which as explained here, should be avoided, as it results in a much weaker relationship between the phases of construction. In turn, this impedes how much of the solidity from the simpler steps can be carried forward as we build up more complexity.

Continuing onto your branches, there are a few points I wanted to call to your attention:

  • The most important part is in regards to how you've approached laying out your edges. Most importantly, you don't appear to really be following the specific approach detailed in the instructions, where each segment starts at one ellipse, continues past the second, and stops halfway to the third, with the next one starting at the second ellipse and repeating the pattern. In most cases you do not appear to have not extended each segment fully halfway to the next ellipse, and I caught at least one where you started your next segment further along, which further minimizes the overlap. That overlap is important, as it allows us to achieve a smoother, more seamless transition from one to the next.

  • Remember that as per the Lesson 1 ellipses video, the degree of your ellipse should be shifting wider as we slide further along the length of the branches, rather than remaining the same.

  • Lastly, you appear not to be drawing through your ellipses two full times, as noted in Lesson 1.

Continuing onto your plant constructions, overall your work here is pretty well done. I do have a couple things to draw to your attention, and a bit more to discuss when it comes to the detail phase of things, but aside from the points that I've already addressed, you're doing fairly well.

So, here are the main points I wanted to call out:

  • For your petals on this page you tend to move ahead in complexity - specifically adding those wavy edges - without first laying down a simpler edge upon which we can build up that edge detail. In effect, you're skipping important constructional steps. We can see plenty of that throughout the petals here, but there are somewhat subtler examples of this like here.

  • For this daisy, I noticed that you did attempt to employ the approach shown in the hibiscus demo, where we use an ellipse to establish the bounds to which our petals will extend. You used it correctly in a lot of cases, but I do want to note that it's important you maintain tight, specific relationships between the steps of construction. So the ellipse(s) establish how far out your petals will extend - when we decide to employ that tool, it's because we want all of our petals to extend to a specific distance or to a specific landmark, defined by the ellipses. If we have several different groupings of petals, we can - as you've done here - lay out several ellipses. But what we don't want to end up with are any petals that don't extend to a defined perimeter, or any that casually overshoot or undershoot an existing perimeter by some small measure - as these things suggest a weak, looser relationship. Always keep those relationships tight and specific. Similarly, ensure that once those flow lines have extended to the correct perimeter (which you did here on this hibiscus), that the corresponding petals also end where their flow line does, instead of leaving an arbitrary gap between those two ends, which we do see happening in that hibiscus.

  • When constructing your cylindrical flower pots, like the bonsai tree, be sure to do so around a central minor axis line to help in aligning your various ellipses to one another. Also, don't forget that degree shift point I raised in regards to your branches - here you start out very wide at the opening, then go very narrow, then widen again. Instead you'd want to go narrow-wider-widest, with the widest point being the base. Lastly, be sure to add as many ellipses as you require to flesh out the entirety of the structure - at minimum, it's a good idea to include another ellipse inset within the opening to establish the thickness of the rim, as well as another at the level of the soil so the stem of the plant has something to intersect with.

The last thing I wanted to discuss is more of a reminder as to what exactly we're doing in this course when it comes to the detail phase of things, and the textural concepts introduced in the last lesson. It's important to note that once our construction is all finished, we're not simply shifting gears to transferring purely visual information, from the reference to our drawing with the intent to 'decorate' it. Decoration being another word for doing whatever we can to make the drawing appear more visually interesting. Decoration's simply not a particularly clear goal to pursue, as there's no specific point at which one has added enough decoration.

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.

Now I've given you a number of things to keep in mind, but I'm going to leave them to you to address in your own practice, as overall I still feel you're applying the core principles of the lesson well. I'll go ahead and mark this lesson as complete.