Starting with your arrows, these are definitely flowing quite fluidly through space. This carries over fairly well to your leaves, as you've done a decent job of capturing the sense of motion and movement with which they move through the world. I am a little concerned with the general looseness of some of your linework though - there are at times little gaps, or places where lines overshoot their target quite a bit, which suggests to me that you need to put more time into your use of the ghosting method to plan and prepare before your confident executions. In addition to this, when it comes to overshooting your lines, one thing that can help is to get used to lifting your pen when it hits the end point, instead of trying to slow to a stop. This can yield more reliable results.

When it comes to the addition of edge detail, you've done well to adhere closely to the underlying phase of construction, adding and building onto it instead of attempting to replace it outright as some students sometimes do. I do however want to stress the importance of using reference whenever you dig into any kind of detail. The leaf shapes themselves are something of a special case, where we can explore drawing them from our imagination, focusing entirely on how they move through space, but the detail and texture still should be informed from actual concrete examples. Students are not by any means expected to have a strong enough visual library to be able to do that on their own.

In addition to this, exploring more complex leaf structures like those demonstrated here and here, while not mandatory, are definitely a good way of applying this exercise. Using reference with those might be better, though.

Moving onto your branch exercises, you are applying the instructions correctly (for the most part), which is good to see, though there's definitely room for improvement. Specifically, you end up getting a lot of visible "tails" where the ends of your line segments diverge from the intended path, and split away from the next segment. There are a few ways to help with this:

• Consistent use of the ghosting method to plan and prepare before executing your mark, and being sure to rotate your page appropriately to find a comfortable angle of approach.

• When you draw the next segment, try overlapping the previous one directly, using it as a runway before shooting off towards the next target. This can help because it forces you to deal with the result of your previous segment, rather than ignoring it and drawing the next one where the last ought to have been.

Moving onto your plant constructions, you're applying the principles of the lesson reasonably well, but again, I am concerned about the looseness of your linework - that is, the gaps, the general sense that your lines aren't always planned out and prepared for adequately, and with some of your larger ellipses and curves, that you may not be consistently drawing from your shoulder.

When it comes to the principles of building things up from simple forms, you're doing a great job. Most of the time your leaves flow very fluidly through space, and you don't delve into complexity too early - although to be honest, it's fair to say that you don't really delve into much complexity at all, instead stopping after your first or second phase of construction. This isn't entirely abnormal, especially at this stage, but it does suggest that you may only be giving an initial study of your reference image, rather than identifying the wealth of additional visual information that is present.

By this, I don't mean texture or detail - I mean how there are loads of additional forms in these structures that are going overlooked. Construction is indeed about breaking things down into simple forms first, but then going back and identifying how we can build upon that underlying structure, adding more forms and building our way up to a more complex object that captures all the major aspects of the item we're studying. Our goal here is to communicate enough for the viewer to grasp how they might manipulate that object in their hands, to identify all of its major components, and to be able to move them around in their head.

On the topic of texture, I see that you made an attempt to add it to this mushroom, but that you gave up quite quickly. While you are not required to delve into detail, if you set out on a task, you must see it to completion. Giving up early because you feel uncertain just shows that you're afraid of "ruining" your drawing. We're not here to draw pretty pictures - each and every drawing is an exercise, and nothing more, and taking that bold step into something you're uncomfortable with is critical, and shows growth. Don't stop short and run back to your comfort zone. As it stands, you were employing shadow shapes correctly there, and appeared to be on the right track.

The last point I want to make is a minor one. When you draw flower pots, or anything that is cylindrical, be sure to do so around a central minor axis line, as demonstrated in the diagram from this step of the form intersections exercise.

The flower pot in this drawing actually serves as a good example of your drawings stopping at the most basic stage - what you captured there, with admittedly loose linework, is just a simple solid form. There's no thickness to the pot itself, no lip, no base of soil contained inside. Just a single solid mass. It's how this certainly starts, but you're not finished yet.

Primarily because of the looseness of your linework, and partially because of the fact that you've not pushed your constructions far enough to capture the full extent of core spatial information contained in your reference images, I'm going to assign a few additional drawings below.

Edit: One additional point. Remember that everything you add to your constructions is a solid three dimensional form. Not just a line, not just a shape on a flat page. Focus on giving the impression that every single thing you add is solid and three dimensional. Looking at this drawing, for instance, the little shoots coming out from the center of the flower have solid forms at the end of them, but because you appear to have drawn them somewhat more roughly and haphazardly, they read as being flat instead of solid forms.