Starting with your arrows, these are definitely moving through space with a good deal of energy and confidence to them, which carries over fairly nicely into your leaves exercise. Here, though the movement is somewhat more muted and calm, you've still done a great job of capturing not only how the sit statically within space, but also how they move through the space they occupy. While overall I'm also pleased to see that you're building up your more complex detail directly onto the underlying structure from the previous constructional phase, in the top left corner (leaf #1) you did end up zigzagging your edge detail back and forth more loosely across that previous phase of construction's edge, as explained here. This results in a weaker bond between the phases of construction, and also shows that you're trying to replace the existing mark, rather than trying to build on top of it.

One last thing about your leaves - it's not uncommon for students to confuse what they're trying to achieve when adding marks to the surface of their leaves, as you've done here. It's important that you consider whether you're trying to add artificial contour lines to just help convey how that surface flows through space, or whether you're trying to capture the actual vein texture present along that surface. If you're drawing artificial contour lines, you shouldn't be trying to mimic a branching vein pattern. If you're drawing the veins proper, then you shouldn't be doing so with lines, and should instead be using cast shadows to imply the presence of those textural forms as discussed back in lesson 2.

Moving onto your branches, these are actually very well executed, and you've done a great job of getting your edge segments to flow smoothly and seamlessly into one another, while also maintaining consistent widths throughout the length of your branches. I have no real complaints here, so keep up the good work.

Now, looking at your plant constructions there are definitely a lot of elements that are going well, but there are some key issues I absolutely need to address:

• Looking at the first page - the two daisy drawings - and several others, you appear to only be drawing the leaves and petals of your plants insofar as they'd actually be visible from the viewer's standpoint, alowing their edges to stop suddenly where they are overlapped by another form. The thing about constructional drawing as an exercise (and all of these drawings are indeed just exercises), is that it's about understanding how the forms we draw exist within 3D space. Drawing each form in its entirety is critically important to understand this, as well as how those forms relate to one another in 3D space. A form does not cease to exist when it is blocked from view, and therefore we want to be drawing them all as fully enclosed forms despite overlaps and intersections.

• A more minor point about your cactus - don't draw anything as a simple line. Every mark we draw basically should be defining a form, adding it to the existing structure in 3D space. This means that every spine you drew ought to have been defined as a fully enclosed shape, rather than just a line that shoots out in one direction.

• For the mushroom in drawing 3, another minor point - don't forget the principles regarding capturing texture from lesson 2. We don't capture textural forms using lines - we use cast shadow shapes. One thing that can help remind you of this is to draw textural marks using the two step process described here, as it will ensure that every mark you do draw is an enclosed, filled shape - not just an individual line. The same thing goes for the mushroom in drawing 5, where you outlined all of the growths along the cap of the mushroom, with the pineapple in drawing 8, and several others. Outlining such forms deviates from what you learned in lesson 2 - again, textures should only be implied through the shadows cast by the forms along those surfaces.

• For drawing 6, one major issue does come up - the way in which you've attempted to use those solid black shapes is incorrect in most cases. Basically you're confusing three things - line weight, cast shadows, and form shading. Line weight is something that clings along the silhouette of a given form, and it will always involve a subtle change in the thickness of the line. Not enough to be immediately obvious to your conscious brain, but something that'll whisper to your subconscious instead. You know something's going wrong if you've got line weight that suddenly gets notably heavier, so always be wary of that. Cast shadows on the other hand are shapes that can get as large and broad as is needed, but they do not cling to the silhouette of another form - they are cast down upon some other surface, and cannot float arbitrarily in space. Lastly, form shading is where a form's own surface will be lighter or darker based on whether it's oriented towards the light source, and as explained here in lesson 2, is something we're leaving out of our drawings entirely throughout this course. This means that when it comes to the big filled black shapes in our drawings, they must only be reserved for capturing cast shadows. In turn this means they must fall upon an existing surface within the construction, cannot float arbtrarily in space, and will not simply cling to the silhouette of the form casting them. In this drawing, you're very much not using them correctly.

• On a similar note, worth mentioning is that in drawing 7, you filled the negative space itself between the base of your individual plant bits with solid black. Again, any solid black shapes should be the result of a form casting a shadow upon another surface, and therefore the shadow shape itself should generally relate directly to the form casting it. That means you aren't going to get specific faces of a given form that are filled in like this.

• Also, looking again at drawing 7, you've got the leaf towards the top of the page where you've drawn the pattern along the surface of the leaf. Remember that every mark we put down serves a particular purpose rather than just being decoration - when we're establishing the construction of an object, it's all about conveying to the viewer the information they'd need to understand what it'd be like to manipulate that object in their hands. When drawing texture, we're communicating the information they'd need to understand what it'd be like to run their fingers over the object's various surfaces. Everything relates to some sort of 3D information or property. The actual patterns along the objects, however, are not a part of this. They're just made up of local coloration, and therefore should be ignored.

• One last thing about drawing 7 - whenever you're drawing any kind of cylindrical form for a vase or flower pot, be sure to construct it around a central minor axis to help align the ellipses. Additionally, make sure you're drawing through each ellipse two full times before lifting your pen.

I've laid out a number of things here for you to keep in mind. I'm going to assign some additional pages for you to do in order to implement these points, and you'll find them below.