Starting with your arrows, they're definitely moving confidently and smoothly through space. Do however keep an eye on the fact that they're moving through all three dimensions of space, which means that the gaps between your zigzagging sections are subject to perspective and foreshortening, resulting in those gaps getting smaller and tighter as we look back in space as shown here. Also, I believe in my lesson 2 critique I gave some advice on how to change your hatching - I can see that you did indeed attempt to implement this (you changed the direction of the hatching lines), but you missed one thing. Draw these hatching lines across the full width of the ribbon, from edge to edge, instead of stopping halfway. Having the hatching lines stop at an arbitrary distance is what the issue was before.

Continuing onto your leaves exercise, you're doing a good job of carrying over that fluidity from your arrows into these more concrete objects. You're not only capturing how the leaves sit in space, but also how they move through the space they occupy. I'm also pleased to see that you're adhering to the principles of the constructional method, building up complexity gradually in successive phases instead of jumping into more complex structures too soon.

I'm also quite pleased with your branches. You're doing a good job of extending your line segments fully halfway towards the next ellipse in most cases. While there are some visible 'tails' where those segments separate, this is pretty normal. One thing you can do to help avoid this is to purposely use the last chunk of the previous segment as a runway for the next stroke, overlapping it directly before shooting off towards your next target. This will make the branch you're drawing at the moment more difficult, but will actually help you improve more quickly by forcing you to take the previous inaccuracy into account, rather than drawing your next stroke where the previous one ought to have been.

Continuing onto your plant constructions, overall you're doing a pretty solid job throughout the set, with a few issues I do want to point out in order to keep you on the right track. As a whole I'm pleased to see that you appear to be giving each drawing ample room on the page to sort through those spatial problems, instead of trying to fit them into cramped spaces as some students do. You're also clearly engaging your whole arm when drawing, and are happy to draw all of your forms in their entirety, even when you've got lots of overlapping petals. This is good because it helps us to better understand how each form exists on its own in space, and how those forms relate to one another.

The first issue I noticed is that for some of the petals you appear to jump too quickly into complicated, wavy edges, as shown in the bottom left of this page. As shown here, you need to first lay down the petal in simple terms, just establishing the basis of how that petal moves through space, then build that complexity onto the simple edges. I did notice that in some cases you did this somewhat correctly, although the previous phases of construction's lines were drawn a little more faintly and lightly, resulting in broken lines or places where it didn't entirely show through. Remember that every single mark you draw throughout this course should be drawn with confidence - not trying to hide certain marks over others.

A second, more minor issue, is that when you cut off a part of a drawing (like when the stem continues on, but you only want to capture a limited portion of it), don't just have the two side edges of the form stop suddenly, leaving the form open-ended. Cap it off. In the case of the daisies at the bottom of this page, place an ellipse at the bottom of the stem, where it gets cut off. This will help reinforce the 3D nature of the form, rather than reminding the viewer that they're just looking at a drawing.

When you get into detail, remember that what we're doing here is not simply decorating our drawing to end up with something pretty and impressive at the end. Every mark we draw serves a purpose. When going through the construction of our drawing, we're providing the viewer with the information they need to understand how they might manipulate that object in their hands. When conveying texture, we're providing them with the information they'd need to understand how it might feel to run their fingers over the object's various surfaces. Remember that back in lesson 2, I mention that we are not getting into shading/rendering. Your texture should only be captured by drawing the shadow shapes cast by the textural forms along the surface of your objects. Similarly, hatching should be avoided entirely, because it's basically only used when one attempts to add shading for shading's own sake. With hatching on the table, students become less concerned with actually thinking about the texture of those surfaces, and instead fall back on a more generic, one-size-fits-all approach.

Aside from that, your work and grasp of construction is coming along well. I'll go ahead and mark this lesson as complete.