Starting with the arrows, there's one thing that stands out here - your arrows are, for the most part, moving across the flat, 2D space of the page's surface, rather than pushing through the depth of the scene. I mentioned this same thing in regards to your lesson 2 work, that you weren't pushing the foreshortening of your arrows as shown here, though it seems that you missed that instruction. Please take greater care in reading through my critiques and applying them.

Continuing onto your leaves, these are generally doing a pretty good job of nailing down not only how each leaf sits in space, but also how they move through the space they occupy. In this, you've captured a good sense of motion and flow. You have however stuck to a fairly simple level of construction for these leaves, and I did notice that you didn't explore any of the more complex kinds of edge detail as shown here or the more complex structures seen here and here.

Moving onto your branches, I have a few concerns about your work here:

• First and foremost, the quantity here on this page is pretty limited, suggesting you didn't really get a lot of mileage with this particular technique.

• There's a mixture of places where you applied the technique of getting having segments overlap and flow together seamlessly fairly well, some places where you didn't quite follow the steps as instructed, and others where you didn't apply those instructions at all. This one is an example of the technique being applied correctly - segments extending fully halfway to the next ellipse, and the next segment starting at the previous ellipse, resulting in a good deal of overlap and allowing them to flow (relatively) seamlessly from one to the next. While there's a bit of divergence for the segments, that's normal and will go away with practice. Here however you did not extend those segments fully halfway, resulting in limited overlap and a more significant break in flow between the segments. And finally here you drew the line all the way through - admittedly you did a good job of getting the line to cover that distance, but that's not really what you're supposed to be practicing in this exercise.

• As a side note, definitely try to keep the width of your branch forms more consistent - avoiding the complexity that you get from the arbitrary pinching/swelling in some sections helps us keep the forms feeling solid and three dimensional.

Moving onto your plant constructions, there are a lot of areas in which you're not necessarily showing a solid grasp of the material covered in the lesson. The key thing about construction, as discussed in Lesson 2 and within this lesson is that it focuses above all on a single premise: we build everything up from the simplest of pieces, and develop greater complexity by building upon them with further simple pieces.

So let's get to the first common mistake I'm seeing in your set: you tend to start out with something really simple (an ellipse for example in these cacti) and then you "draw the rest of the owl". That is, you start dead simple and draw everything else in your next step. You're not actually building things up steadily, with every step creating the scaffolding structure to support what you add in the next phase - you're jumping right to the end.

We also see you skipping steps in this banana tree - looking specifically at the leaves, those are incredibly complex shapes you've drawn strictly from observation, not following the principles of leaf construction at all as shown here.

Another important issue I'm seeing is that you're not drawing through your forms. Keep in mind that we're not learning how to draw plants - we're learning how to think about 3D space, and to develop our brain's spatial reasoning skills through an exercise called "constructional drawing". With each lesson, we're looking at this same problem through a different lens. In this case, we're doing so by looking at plants. Learning how our objects exist in 3D space involves breaking them down into these simple 3D forms and figuring out how they all relate to one another in space. In order to do this, we must draw each and every one in its entirety. If something blocks our view of part of a form, it does not cease to exist where we cannot see it - and therefore, to properly understand how it exists in space, we need to draw it in its entirety even if it is blocked from view.

Based on the way you've approached most of your drawings here, you seem to have neglected that core purpose of this lesson, and instead focused on drawing the plants with the intent of creating a nice drawing at the end, rather than treating it like an exercise. There are only two drawings in the set that are actually approached as a constructional exercise: the onion chives and this plant. For both of these, however, I have one strong recommendation: drawing big is really, really helpful. It allows us to engage our brain's spatial reasoning skills, makes it easier to draw with our whole arm, instead of falling back to drawing with our wrists. There are going to be situations where a plant may have a very long stem (like the onion chives), but where including the entirety of the stem forces you to make the other more interesting parts of the construction much smaller. Instead, opt to cut off the stem so you can blow up the head. Or in the case of the other plant, where it has many different branches that are all the same, focus on one branch so you can draw the leaves bigger.

In addition to this, always remember that drawing leaves means following through the steps of the leaf construction method, thinking about each and every step and what its purpose is. You followed the steps here, but for a variety of reasons (one of them being how small they were), you didn't really put much thought into how that flow line is intended to establish how that leaf moves through space. As such, they ended up feeling very rigid.

I have a couple additional points to mention:

• Don't forget to draw through all of your ellipses.

• In cases like these flowers, it is important that you understand that every step of construction answers a question. In drawing the initial circle, you're defining the distance to which your petals are meant to extend from the center. In drawing the flow line, you're establishing how long that individual petal/leaf is going to be. That means that once that ellipse is in place, your flow lines should end right at its perimeter, and the petals that follow should also end right at the tip of the flow line. By having all of these arbitrary relationships between your steps of construction, you're not creating a tightly bound structure that can pass on the illusion of solidity from one phase to another - they just become loose suggestions. Construction is all about very clear relationships. One phase says "the leaves are going to be this long", and every phase that follows adheres to that. To stray from it introduces a contradiction into your drawing, which undermines the believability of the result.

Now, as you did not apply the principles of this lesson and tended to drift off into your own personal goals, I am going to have to reassign lesson 3 in full. Please go through the material again, read and watch the demos, and do the entire lesson over. When you're done, submit it as a fresh submission. This will cost you two additional credits, because rather than being a limited, partial revision, it will require a full critique.