Starting with your arrows, you've done quite well - you've executed your linework here with a lot of confidence, which really helps to push the sense of fluidity with which they move through the world. That said, I am noticing that as your arrows push farther back in space, you're still keeping the negative space between the zigzagging sections roughly equal in size on the page, rather than having it compress as we look farther away. In order to maintain the same distances in 3D space, those gaps need to get smaller on the page, as shown here.

Now, that confidence I was talking about initially carries over very nicely into your leaves, where you're capturing not only how the leaves sit statically in 3D space, but also how they move through the space they individually occupy from moment to moment. In addition to this, you're generally handling both the addition of edge detail (as individual marks rising off and returning to the existing structure) and your more complex leaf structures quite well. Just one little hiccup - when you've got a leaf with a wavy outline like this one, you're going to want to build up to that, rather than jumping to that kind of complexity all in one go. Always make that initial silhouette as simple as you can, focusing only on following the trajectory of the flow line.

Continuing onto your branches, you're doing a good job of applying the instructions here, in terms of ensuring that each segment extends fully halfway to the next ellipse, allowing for a healthy overlap between them. Do remember though, you want the degree of those ellipses to shift wider as we slide further away from the viewer along the length of the form, as noted in the Lesson 1 ellipses video.

Carrying onto your plant constructions, you have by and large done very well. There are some issues that I'll note below, but all in all you're moving in the right direction.

• On the flower on the right side of this page, I'm noticing that you're leaning more into zigzagging your edge detail. I recommend you give these notes a read. You were handling the edge detail in the leaves exercise better, so I imagine that you got a little careless at this point.

• Be sure to follow each demonstration as closely as you can. Most notably, in the potato plant drawing you appear to have been more overzealous in filling the in-between spaces with black than the demo was, and as a result, filled in areas that would not have been covered in shadow due to the density of the foliage, causing the purpose of those filled areas of solid black to be unclear. The absence of other shadows being cast by the other leaves also adds to this confusion, because it's that which provides context to clarify that the filled negative spaces are indeed cast shadows. It seems that instead of adding cast shadows, you've instead applied really bold line weight. Remember - cast shadows do not cling to the silhouettes of the forms casting them (they're cast upon another surface), whereas line weight does cling to those silhouettes but has to be kept subtle and light, as explained here. Line weight should also be focused in the localized areas where forms overlap one another, as explained here.

The only other thing I wanted to address is that right now when it comes to adding detail to your constructions, you seem to be more focused on a general sense of decoration - that is, doing what you can to make your drawings feel more visually pleasing - rather than adhering to the principles of texture from Lesson 2. This can instead lead to us drawing more directly from observation, transferring what we see directly to our drawing, rather than first understanding how each individual textural form sits in 3D space, in relation to the other forms and surfaces present.

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.

While you should review all of the texture section, you may specifically want to start with these reminders.

Anyway, aside from those points, you're doing quite well. I'll go ahead and mark this lesson as complete, and leave you to address the points I raised on your own.