So there are definitely things you're doing here that are coming along well, as well as areas where you're getting distracted by detail. I can definitely see that detail is something that you're trying to figure out, in a sense, in that you're tackling it through a couple of different approaches.

Here especially the leaves on the top of the page, you're jumping head-first into the "decoration" I talked about in my previous feedback. That is to say, you don't have a clear goal to work towards here in the addition of each mark, you're just kind of floundering, trying to reproduce what you see in your reference image, but with severely limited tools (working strictly with black and white).

My feedback on this front previously hinged on the fact that in this course, we deal with two things: construction and texture, and texture specifically pertains to the points raised in Lesson 2, which is all about understanding the specific nature of each individual textural form you're adding to your construction's surfaces. That's not what you're doing here - you're not thinking about the forms that are present, you're thinking in terms of each individual stroke, and thinking in terms of reproducing what you see in your reference image. That is taking 2D information (your reference image) and applying it to a 2D drawing, but without the necessary intermediary step of understanding the forms that are present, and how they relate to the surfaces around them in 3D space.

I elaborate on this further in these notes, so I suggest you give them a read.

Skipping further down to this drawing, you do think more specifically about each individual textural form that is present, although you're drawing each and every one with an outline, using explicit markmaking techniques, rather than the implicit ones discussed back in Lesson 2. Implicit markmaking is not about drawing the forms themselves, but rather the specific shadow shapes they cast - shapes which themselves are designed based on the relationship between the form casting the shadow, and the surface receiving it.

One thing that helps with this is to purposely approach it in two stages - first outlining your intended shadow shape (the process of which helps us think about how we're designing the shape, and about the forms/surfaces in question), then filling it in. You can see an example of this in this video (which is timestamped to the brush pen section, in which this approach is demonstrated).

This is of course not easy to do, but you're sidestepping it entirely by instead relying on explicit markmaking - outlining each textural form, rather than attempting to deal with shadows at all.

I should mention that what you're doing on the leaf veins here is actually very much headed in the right direction - you just need to stop working with individual lines, and start working with actual shadow shapes.

Now, when you stop worrying about texture/detail (which is optional for the purposes of this course, so you don't have to worry about it), you definitely do better. Specifically this drawing. Here there are two main issues, but overall it's still fairly successful:

• A minor point, but it would have been good to draw through the planter box - that is, draw the edges on the opposite side as though we have x-ray vision. This will help us to understand how it's meant to exist in relation to the other forms at play, not in the 2D space of the drawing, but in the three dimensions of the construction.

• As shown here you are prone to skipping constructional steps, and diving into a more complex initial silhouette than you should be. Remember - construction is all about maintaining tight, specific relationships between the stages of construction, and when there's no preceding structure to support what you're trying to draw, you must keep things as simple as possible.

As to that second point, you're much more prone to leaving looser relationships between your constructional steps in this drawing, at least in some places. As shown here, you should not have a bit of edge detail that attempts to capture more than one thing at a time. Always have it rise off the previous stage of construction's edge, then return to it. Don't go in for seconds and thirds.

Oh, one last thing - in general, you are not putting enough time into your linework, and it results in a lot of sloppiness. For example, if we look at this individual leaf, it shows clear signs that you're trying to get through it quickly, rather than giving yourself a decent measure of time to think through each individual problem. Don't stress about speed - your only responsibility here is to give each and every form, every shape, and every mark the time it requires for you to execute it to the best of your current ability, with appropriate consideration for what each mark's job is meant to be, and how it can accomplish that task most effectively. These are at the heart of the ghosting method, specifically in its planning phase - so do not skip or rush through it.

I'm going to assign one last set of revisions just to see what you make of this feedback.