Hello Mk66, 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 keeping foreshortening in mind while constructing your arrows which allows you to make really good use of perspective and the depth of your page, this gives a nice extra layer of tridimensionality to your arrows.

Your usage of hatching helps you establish how your arrows twist and turn in space and further your own understanding of the tridimensional space these objects occupy, as a finishing touch to your arrows don't forget to make use of added line weight on top of the overlaps to reinforce their depth.

In general you're doing well, so keep tackling this exercise during your warm ups in order to take your understanding of arrows and 3D space further, experiment with the different ways arrows can twist and bend and move across space, try different rates of foreshortening and experiment with the negative space between overlaps, all of these will help you challenge yourself and develop your skills further.

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.

Your addition of edge detail is generally looking good, as you don't usually attempt to capture more than one piece of edge detail at a time, and you generally construct your edge detail additively. You're also keeping the line thickness between your phases of construction roughly consistent, all of which is very good and helps you create a tighter, more solid construction that still feels fluid and energetic.

It's good to see that you're also experimenting 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.

Branches

Moving on to your branches they are coming along really decently made as you're following the instructions for the exercise, you're drawing your edges in segments which allows you to maintain higher control over your marks and helps you create solid but still organic looking structures.

There are a lot of visible tails present in these branch structures, while this is a very common mistake we can attempt to mitigate it by limiting the amount of ellipses in our branches, by spacing them further apart we'll allow for a bigger length of runway between ellipses, and ensure a smoother, more seamless transition between marks.

For 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 overall. When it comes to your application of the ellipse degree shift to your branches it can be improved, as it stands your degrees are too consistent and hardly change which is a mistake that flattens your structures. Remember that as a form shifts in relation to the viewer, so will the degree of the ellipses within that structure also shift.

Plant Construction Section

And now let's take a look at your plant constructions, which are generally coming along well made, as you're following the construction methods and techniques introduced in the lesson which allows you to construct really solid looking and believably tridimensional structures. I can see a good developing sense of spatial reasoning in these pages.

However there are some issues present in these pages which are holding you back from your full potential. So here are the points you should keep in mind whenever you tackle these exercises again so that you can continue to develop your skills.

Make sure to keep all stages of your construction tight and specific, don't leave gaps in between stages of construction, such as a leaf's flow of line and it's outer edges, they must connect.

Your addition of edge detail is generally looking good, as you don't usually attempt to capture more than one piece of edge detail at a time, and you generally construct your edge detail additively. You're also keeping the line thickness between your phases of construction roughly consistent, all of which is very good and helps you create a tighter, more solid construction that still feels fluid and energetic.

Another issue present in your structures is that when you put contour lines on your forms they don't really communicate any new information. Those kinds of contour lines, the ones that sit on the surface of a single form, only serve to take a form that can already be interpreted as 3 dimensional, and clarify it, while they're useful for introducing the concept of a contour line in practice it can be really hard to apply them incorrectly, if even 1 of your lines isn't in sync with the others the solidity of your structure will suffer. As such it's best to focus only on contours that communicate intersections.

Ease up on your lineweight, it's thick, with several passes going over the same marks and jump from one form's silhouette to another, which smooths everything out too much. Almost as if you pulled a sock over a vase, it softens the distinctions between the forms and flattens the structures out somewhat.

Instead lineweight must be subtle, used only to clarify the overlaps between the forms that are being built up, as explained here.

Final Thoughts

In general your work is looking really good, you're starting to understand the purpose of these techniques and exercises and making use of them in your work effectively, as such you demonstrate that your sense of spatial reasoning is developing really nicely.

I'm going to be marking this lesson as complete. Good luck in Lesson 4.