Hello Sankari, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.

Arrows

Starting with your arrows your lines are looking fairly confident and smooth, which helps communicate a nice sense of fluidity in your arrows as they move through the world. You're making good use of the depth of the page due to your application of foreshortening to your arrows.

It's good that you're making use of some well applied hatching as that helps you establish how your arrows twist and turn in space and your own understanding of the tridimensional space these objects occupy, as well as making use of added lineweight on top of the overlaps as a finishing touch to your arrows.

You're doing very well in this exercise, so I'd just like to encourage you to get out of your comfort zone more often the next time you tackle this exercise, as your arrows are generally very similar in the way they move through space as well as their rates of foreshortening. Try arrows with different kinds of twists and turns and different types of perspective and foreshortening, keep in mind that arrows are very flexible objects and can move freely across the world in all sorts of manners, so you should push yourself and explore the different possibilities.

Leaves

The linework for your leaves is looking smooth which helps communicate their fluidity and sense of energy, it's good that you're not only trying to capture how these structures sit statically within space, but also how they move across it from moment to moment.

It's good to see that you've experimented with some more complex types of leaf structures, and doing so by following the instructions, which allows you to create a much tighter and more solid looking structure that still feels flexible and energetic.

Your edge detail is looking quite well made, you're not attempting to capture more than one piece of edge detail at a time, and you're often approaching it additively - that is, constructing it on top of your preexisting structure, as well as putting it down with the same general line thickness as the rest of your construction, all of these are good things that help you construct solid and tight structures that still feel fluid and energetic.

Branches

Moving on to your branches they are coming along really well made as you're following the instructions for the exercise which allows you to create some solid but still organic looking structures.

You do have a couple of visible tails in your compound strokes, but this is completely normal and a mistake we all make, as you continue practicing your accuracy will naturally improve, however in order to mitigate this issue you may attempt to place your ellipses further apart from one another, in order to provide a good length of runway between your overlaps.

It's good to see that you're following the instructions for drawing knots and forking branches correctly. For your ellipses it's good to see that you're making an attempt to always draw through them twice, as that allows for a smoother mark. While you do seem aware of the ellipse degree shift your ellipses degrees barely change when they should due to how the ellipse degree shift works. Remember that as a cylindrical form shifts towards or away from the viewer, the degree of the ellipses within that structure will also shift.

Plant Construction Section

And finally let's take a look at how your plant constructions are coming along, which are generally looking pretty well construced, for the most part you're making use of the construction techniques introduced in the lesson and to quite great effect, which helps you create some very tridimensional looking structures. You're certainly demonstrating a strong sense of spatial reasoning in these pages.

Of course there are always a couple of things that we can improve, as such here are some of the points you should keep in mind whenever you tackle these exercises again.

Always keep in mind that the construction methods and techniques introduced in this course must always be applied to your work, as they're tools which will help you construct much tighter and solid looking structures, there are times where you deviate from the construction methods by not starting your branches with a minor axis or by skipping construction steps when drawing leaf structures, such as in here where the structures are looser than they could be, because you did not establish a boundary that all of the later structures will abide to, despite complex structures being made up of several different parts, they still exist as a single entity, by not skipping construction steps you can ensure that your constructions are much more solid and specific.

Or in here where you approach the petal structures more as shapes, rather than fully constructed structures, which flattens and stiffens your construction. Make sure that when approaching any construction that you're allowing yourself as much space as it's necessary for you to construct every single structure present to it's full extent, as this will help you develop your skills more thoroughly as you're forced to carefully consider every single spatial reasoning puzzle present in your work and solve it completely.

When approaching cylindrical structures such as plant pots make sure to start with a minor axis in order to keep your several ellipses aligned to each other more easily. Going further, make sure that you're also fully constructing the outer rim present in most types of plant pots, and adding an inner ellipse in order to indicate the thickness of this structure.

And lastly let's take a look at your usage of texture, which can be improved, as it stands currently you're often approaching your texture in a much more observational manner, you draw what you think your texture looks like, instead of carefully considering what your texture communicates about the forms you're drawing and the surface of the structure you're applying it to.

Let's revisit how texture in Drawabox is approached, by looking back at this page we can refresh our memory and see that texture through the lens of Drawabox is not used to make our work aesthetic or pretty, instead every textural form we draw is based on what's physically present in our reference. Our focus should be on understanding how each individual form sits in 3D space and how that form then creates a shadow that is cast onto that same surface, after analyzing all of the information present in our reference we'll be able to translate it to our study. This means that the shape of our shadow is important as it's the shape that defines the relationships between the form casting it and the surface it's being cast on, which is why we need to consider carefully how to design a shadow shape that feels dynamic.

This approach is of course much harder than basing our understanding of texture on other methods that may seem more intuitive or basing it on the idea that texture = making our work look good, but in the long run this method of applying texture is the one that enforces the ideals of spatial reasoning taught in this course. By following these ideals, you'll find yourself asking how to convey texture in the most efficient way possible, with less lines and ink, focusing on the implicit mark-making techniques introduced in Lesson 2.

Final Thoughts

Overall your work is looking good and tridimensional despite the small bumps here and there, you clearly understand the methods and techniques introduced in this lesson, as such I'm going to be marking this submission as complete as it's clear that you are ready for the challenges that you'll face in the following lesson. Good luck in Lesson 4.