Starting with your arrows, you're generally approaching these with a good deal of confidence, which really helps to sell the illusion of the fluidity with which they move through the world. There are two things I want you to keep an eye on though:

• In the bottom left, you ended up trying to trace back over more of the existing linework than was necessary, in order to add line weight. This resulted in a much wobblier stroke that undermined the initial linework's confidence, and caused it to stiffen up. As a rule, limit your use of line weight to the specific areas where your forms overlap, in order to help clarify those overlaps as discussed here.

• When adding hatching to help demonstrate which side is which when the arrows fold over themselves (or really in any of the few places where hatching applies in this course), be sure to always stretch it across from edge to edge, rather than having it stop at an arbitrary distance. You can also read more about the use of effective hatching in these notes from Lesson 2.

Continuing onto your leaves, that general confidence from most of your arrows carries over fairly well here, helping you to capture both how the leaves sit statically in 3D space, as well as how they move through the space they occupy. You're also handling the addition of edge detail fairly well (building it up in individual strokes rather than trying to add too much all at once), but there are definitely places where your linework gets a little rushed and sloppy.

What we're doing here is effectively trying to create the impression that what we're drawing is not just a collection of lines on a page - it's a solid, tangible structure that exists in a three dimensional world. If we're sloppy with our linework, and end up with gaps that leave parts of our forms' silhouettes open (which we see in cases like this leaf's edge detail where the individual spikes are often drawn with gaps between them and the silhouette to which they're attaching, as well as here where the tips of those smaller leaves are left open), then we provide the viewer - and ourselves - with a reminder that what we're looking at is just lines on a page. It's critical that you give yourself more time to execute each individual mark to the best of your current ability, as is the responsibility of all students throughout this course.

Continuing onto your branches, along with a similar sense that you're rushing your linework at least a little (don't forget that the ghosting method should be applied, in its entirety, to every structural mark you make throughout this course - I believe this was emphasized to you in your Lesson 2 feedback). Investing all our time into the planning and preparation phases of the ghosting method is indeed time consuming, but it's extremely important to execute these marks to the best of our ability. The preparation phase in particular gives us an opportunity to ask ourselves exactly what the nature of the mark we wish to make is meant to be, and what goals it's meant to achieve.

In this regard, it would help in giving you more of an opportunity to think about the instructions about how the edges of our branches are meant to be laid out. As discussed here in the instructions, each segment should start at one ellipse, continue past the second, and stop halfway to the third, with the next segment repeating the same pattern from the second ellipse. You follow this some of the time, but you also fall short of extending fully halfway to the next ellipse some of the time as well.

In addition to this, I would also recommend trying to use that last chunk of the previous segment as a runway, overlapping it directly before shooting off to the next target. This can make the exercise a little more difficult, while also making it considerably more effective, as it allows us to address mistakes rather than drawing the next stroke where the previous one ought to have been. You actually do this somewhat in various places, so just try to apply it more widely across the whole exercise.

Moving onto your plant constructions, I do have some recommendations on how areas of your work can be improved, and I do still feel like you are perhaps not putting as much into each individual stroke as you could, but as a whole you are certainly moving in the right direction. At the same time, I do believe this can be taken even further - although we'll talk a bit about how that can be done as well.

• Constructional drawing depends heavily on tight, specific relationships between the different stages of construction, with each step defining a decision or a set of decisions being made, which should then be respected and upheld going forward rather than altered or contradicted. One such way we can look at this is in the flow line of our leaves and petals, and ensuring that as this flow line establishes both how the structure moves through space as well as how long it will be, the subsequent leaf/petal structure that is constructed around it should start and end where the flow lines does so - rather than leaving an arbitrary gap between the flow line's end and the tip of the leaf. So for example, the gaps we see at the ends of these tulip petals should not be there. Instead, the petals should end where the flow line does, even if this causes you to deviate from your reference image. Your reference image is something you should observe carefully, but there will be situations where you execute a mark and it doesn't quite match perfectly, because we're not perfect robots who can create exactly the stroke we intend - not as beginners, anyway. But, that mark still makes a decision, and that decision must be respected.

• When constructing cylindrical flower pots, or any cylindrical structures, be sure to construct them around a central minor axis line. This will help you in aligning whatever ellipses you need to flesh out the structure - although you should not limit this just to the basic top/bottom ellipses as you did here, if there's additional structure to be defined. In the case of a flower pot, you'd want at minimum another ellipse inset within the opening to help imply the thickness of the rim, and another to establish the level of the soil so the plant's stem has something to intersect with.

• I also noticed that you drew the base ellipse of that flower pot narrower than the opening - remember that as discussed in the Lesson 1 ellipses video, the farther we move along the length of a cylinder, the wider its cross-sectional slices will appear to the viewer.

Now, there are two distinct points I want to make when it comes to "pushing our constructions farther". One is to discuss the fact that not all detail is textural detail, and the second is to discuss exactly how we go about capturing textural detail, and more importantly what it does not cover, and thus what should be left out of our drawings.

Starting with the first, I noticed that in your plant constructions - specifically those from this album, where you appear to have kept the attempts focusing entirely on construction, you appear not to have delved into any edge detail as explored in the leaves exercise. I suspect this is due to a misunderstanding - when I say that we're to focus only on construction, it's not about keeping everything as simple as possible. Rather, it's about building the structure up as far as we can, with as much structural detail as we require, and in as many successive stages as possible. This can be quite complex, especially as we break down into adding relatively small bits of structural detail (like the edge detail on our petals and leaves), so do not hesitate to take it further.

As to the second point, when you get into more detailed drawings in this album (where you are certainly getting into much more structural detail than before), I wanted to take a moment to discuss the distinction between texture and decoration. It's very common for students to end up treating the textural detail phase of their construction as an opportunity to decorate their drawings - basically making them as visually complex and interesting as they can, usually by transferring information from their reference through direct observation. Unfortunately there's no specific point at which we've added enough decoration, and so that doesn't make it a terribly useful goal for our purposes here.

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.

Just to be clear, I think you actually do spend a fair bit of time thinking about cast shadows, and the relationships between textural forms and their surrounding surfaces. There are however a lot of areas where the lines between cast shadows and form shading can get quite unclear. So for example, here you're doing a great job of defining cast shadows for most of these filled black shapes, whereas here and here there are many more cases where you're not really defining a shadow being cast from one form onto another surface, but rather capturing the form shading that occurs as a result of the surface getting lighter or darker based on its orientation (which as discussed here should not be included in our drawings for this course.

Also, in the corn cob you've got a lot more cases where you're drawing arbitrary one-off lines to capture a rough impression of the texture on the husks/leaves, effectively transferring them directly from observation instead of considering how they exist as a texture, consisting of actual forms along the larger surface.

As a whole, you are doing well, but I would like to give you the opportunity to address some of the tendencies towards rushing, so I'm going to assign some further revisions below. Before you dive into them however, I recommend giving yourself some time to absorb and reread this feedback - it's quite long and dense, with a lot of links and diagrams included, so it will take a few read throughs over a span of time to have it all sink in.