Starting with the first exercises, the arrows themselves are moving fluidly and confidently through space, although the linework itself leaves a lot to be desired. The broken, haphazard, sketchy nature of the arrows towards the top of the page are not at all adhering to the principles of markmaking, and they seem to be fraught with uncertainty and hesitation. Every mark we draw needs to be done so with purpose - as we explore in the branches exercise, even there when we break lines into separate strokes, we do so with the goal of having them appear as though it's just one continuous flowing mark.

Now, towards the bottom of the page your work there definitely appears more consistent, but I can still see hitches here and there. Don't break these down into short marks.

Now, the general fluidity of those arrows (when ignoring the linework itself) comes through quite well in the leaves exercise, where you're doing a pretty good job of capturing not only how the leaves sit in space, but also how they move through the space they occupy. There are a couple things I want to mention however:

• Make sure that you understand the purpose and goal of every mark you draw. With your contour lines, sometimes you got a little confused in terms of whether you were indeed drawing contour lines to help describe the surface of the leaf, or if you were attempting to draw the veins that run along that surface. The veins are themselves a texture - they're a series of 3D tubes that run along the surface of the leaf, and as such they should be implied using the techniques from lesson 2 (capturing the shadow those veins cast on their surroundings), and should not be represented as an oversimplified network of lines. Veins are of course not just lines. When we lose track of what we're trying to achieve with a mark, it becomes easy to fall into traps like this.

• For the maple leaf, I think you got a little sloppy with the marks you were putting down, and didn't put as much time as you could have into each mark, and into planning the construction as a whole. There is a common issue that the more complex a drawing gets, the less time and focus a student will invest in each individual mark. If the line constitutes 50% of the drawing as a whole, it receives a lot of attention - if it constitutes just 1%, it is treated as negligible. Remember that regardless of the role a line plays in a drawing, it should always receive as much attention and time as it requires. It should not be based on how complicated the drawing is as a whole. You may want to take a look at this demo, which walks you through drawing a complex maple leaf.

Continuing onto the branches, I am noticing that your ellipses tend to be somewhat erratic and loose, which suggests pretty strongly that you're not drawing them from your shoulder. Remember that even at that smaller scale, all of these marks should be drawn from the shoulder in order to maintain a consistent execution and trajectory.

Aside from that, you're employing the line segmentation technique well, although one thing that can help you reduce the prevalence of those visible 'tails' where the segments go off track is to actually use the last chunk of your previous segment as a runway when drawing the next one, overlapping it directly before shooting off to your next target as shown here. This will force you to deal with the mistakes in your trajectories, rather than just drawing the next stroke where the previous one ought to have been. It'll make the immediate branch harder, but will help you improve more quickly.

Moving on, I immediately noticed that while you drew your leaves with an excellent sense of confidence driving your strokes, as soon as we get into the first page of plant constructions, there's a lot of visible hesitation behind your linework. Remember that the ghosting method - which should be applied to every single mark we draw - basically exists purely to allow us to execute our marks without hesitation or fear of making a mistake. There is a lot of hesitation here however, and it manifests in the rigidity and stiffness of your lines. The rest of the approach is still fine - you're drawing through your petals, and you're laying them out nicely, but even the lines meant to define the flow of each element is halting and stiff, which impedes the flow of the petal itself.

You improve upon this somewhat throughout the set, especially as you start to draw bigger on the page (drawing small tends to limit both our ability to think through spatial problems and our ability to engage our whole arm when drawing which makes the drawing clumsier and more rigid), but the hesitation is still there albeit not as much. As a whole, I think you still have a tendency to approach things in a more erratic manner - if we look at the bottom right of the second page of plant constructions, the leaves there have a lot of marks that are drawn quite haphazardly. Comes back down to making sure you're putting adequate time and planning into each and every mark you draw.

Overall into the last handful of pages, I continue to see improvement, and a greater sense of patience and care with your linework - although there are still definitely ellipses that are quite loose, so make sure you're continuing to push yourself to draw from your shoulder in order to help tighten them up.

There is one last thing I wanted to mention however. It's clear that the cactus was itself a big experiment, and it's the only drawing where you really went quite so heavy on the ink. That said, it's worth pointing out precisely why it didn't work out, at least not in the context of these lessons.

In what we're doing here, every single stage of a drawing has a goal. When working through construction, we're focusing on conveying the information the viewer needs to better grasp how they might manipulate an object in their hands. When adding texture, that's not carte blanche to go to town on decorations, or to focus on making our drawing pretty and impressive. There is another concrete goal we're meant to focus on - conveying the information the viewer needs to understand what it would feel like to run their fingers over the various surfaces of the object.

It's all a matter of conveying form. Construction focuses on the big forms, texture focuses on the smaller forms. For this reason, we totally avoid any kind of form shading/rendering as mentioned back in lesson 2, and we make sure that our textural marks are specific. That means, we're not capturing a generic pattern, or something repeated, we're identifying a particular textural form, then capturing the shadow it casts on its surrounding surfaces.

In this regard the mushroom on the top left of the last page is better (specifically the cap - you shouldn't have outlined the little nodules on its stem), although you arguably went a bit heavy there as well.

All in all, I think you're moving in the right direction, but I do want to see a few more pages of plant drawings just to make sure that you're applying the ghosting method, thinking through every individual mark you put down, and that you're drawing your ellipses from your shoulder. You'll find these additional pages assigned below.

As a side note, I did notice that your photos appear to have geolocation data tied to them. I'd recommend that you turn off that feature in whatever you used to take those photos, if privacy is of concern to you.