Starting with your arrows, you're doing a good job of capturing how these flow smoothly and fluidly through space, although one thing I do want you to keep an eye on is how the gaps between the zigzagging sections behave as they move away from the viewer. Here you've got them either maintaining consistent spacing or actually having that spacing get wider. As shown here, be sure to have those gaps compress as we look farther back.

Moving onto your leaves, you are largely doing a good job capturing how they move through space, carrying the same sense of fluidity over from your leaves. When it comes to building up more complex edge detail along the sides, you're also adhering to the instructions quite well, adding each 'bump' as a separate mark to build upon the previous phase of construction, instead of trying to replace the whole edge with a single zigzagging line. When it comes to the detail, you mentioned that you were trying to carry the same texture over from the lesson, but there are two distinct differences in how I approached it and how you did:

• Firstly, a lot of these appear to be drawn more haphazardly and arbitrarily. Where I was thinking about specific veins - that is, actual textural forms present along the surface of the leaves, and the shadows they would cast on the surrounding surfaces, it appears that you were just drawing arbitrary marks. For this reason, it is pretty important that any kind of detail relies on reference images. Students at this stage simply aren't equipped with as well developed of a visual library to be able to create that kind of detail believably off the top of their heads. That will come with time, through doing lots of studies and better developing your spatial reasoning skills, but for now all you end up with is a bunch of random lines, because you're not working off anything concrete and real.

• Secondly, you're working exclusively in line, whereas I was working in shadow shapes. As discussed back in Lesson 2, texture should be drawn using implicit techniques, mainly focusing on how forms cast shadows which imply their presence. One trick to force yourself to do this more consistently is to employ this two-step process, first outlining shadow shapes and then filling them in. This will help you avoid making arbitrary marks, and instead will force you to think more about what produces each given shadow.

Continuing onto your branches, the tricky thing when the exercises is done really well is that it's actually hard to really breakdown how it was approached. This is because the goal is to achieve more seamless transitions from segment to segment, and from that seamlessness definitely diminishes just how well I can see what's going on. From what I'm seeing, you appear to be following the instructions properly in most cases, and as a result your forms feel quite solid and and well built, with consistent widths throughout the length of each branch, and smooth edges that appear to continue from end to end. Nicely done!

Finally, your plant constructions. Let's start by looking at the drawings you did along with the demonstrations. For the most part I don't have much to say here, since it's mostly just following the steps laid out in the instructions, but there are two areas where I feel it's worth calling a couple issues out.

• For the hibiscus demo, you've got some rather gratuitous use of line weight along the outside of each petal. This use of line weight is incorrect, as line weight is subject to some very specific conceptual restrictions, and serves a specific purpose - to clarify overlaps between forms in key localized areas. Line weight needs to be left quite subtle in its thickness, really just being a matter of small relative changes that the subconscious picks up on, that isn't entirely obvious to the viewer's eye. Sometimes students confuse it with cast shadows which can be far broader and more notable, but are subject to their own limitations - they have to be cast upon some other surface and cannot simply cling to the outline of another form. In this hibiscus drawing, it appears that you tried to 'fill in' sections of your construction, perhaps to separate the positive space of the petal from the negative space around it. This however is not a valid use of line weight.

• For the potato plant demo, it appears that you did not draw through your leaves at all. Instead, you opted to only draw each leaf as far as it was visible, and cut them off where they were overlapped by another form. Note that this is not what is present in the demonstration where each leaf was drawn in its entirety, regardless of how and where they overlapped. This is important because it allows us to understand how each drawing exists in 3D space, and in turn how they relate to one another within that space. That is at the core of what we're seeking to gain from these drawings. Each drawing is an exercise in spatial reasoning, and that will continue to be so throughout each lesson. This appears to continue being an issue through many of your own drawings - and where you purposely choose to draw through your petals (like on the second last page), your results are considerably better and convey a stronger grasp of 3D space.

So, as mentioned, as we move onto your own plant drawings, being sure to draw through your leaves and petals is one major area to be mindful of. Even where you've got a bunch of them overlapping one another, like the artichoke flower, it's important to draw each one as a complete, enclosed form - otherwise they get flattened into a 2D shape, with a section left open. We end up with a similar kind of point when dealing with the flower pots where you've had them cut-off along the bottom of the page. Cutting forms off is okay, but always be sure to 'cap' them off to enclose the form. In the case of a flower pot, we can do this by placing an ellipse at the bottom to close it off.

Additionally, on the topic of flower pots, anything cylindrical will benefit considerably from being constructed around a central minor axis line, as this will help align the various ellipses that are necessary to build out features like the thickness of the rim around its opening, the level of the soil, etc.

A minor point about plants page 5 - on the right side of that page, you've got a big branch where you've added hatching to it. Firstly, remember that back in lesson 2, I stressed the fact that we will not be employing any form shading in any of our drawings throughout this course. In particular, hatching is a very generic tool used for shading-for-shading's-own-sake - so anywhere you get the urge to add hatching (outside of how we use it in the exercises in previous lessons), you're probably mainly focused on some form of decoration of your drawing which is outside of the scope of what we're doing here. Secondly, in this particular case your hatching involved drawing straight lines across a curved surface. Here are some notes explaining why that's a bad idea.

Now while I've pointed out a lot of areas of weakness, I actually don't feel your submission is that weak. There are a number of issues that need to be addressed, but you do show an overall well developing grasp of how to apply construction, how to think in 3D space, and how to build up your objects in successive phases. I'm quite pleased with things like Plants Page 3, where the mushrooms are built up effectively, and the pumpkins on the right feel solid and believable. We just need to pin a few things down before you can continue onto the next lesson.

So, I'm going to assign a few pages of revisions below, where you can demonstrate your grasp of what I've shared here.