Hello Yume, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.

Arrows

Starting with your arrows you're drawing your marks with a great deal of confidence which helps solidify the feeling of fluidity that arrows posses as they move through all three dimensions of the world they exist in. It's good to see that you're trying to keep foreshorting in mind but for the most your arrows have little to no foreshortening added to them, make sure to explore the size difference between arrow segments much more drastically in order to make better use of the depth of the page and push your understanding of tridimensional space further.

Your usage of hatching helps you establish how your arrows twist and turn in space and further your own understanding of the tridimensional space these objects occupy, and it's also good that you're making use of added line weight on top of the overlaps in order to reinforce their depth.

In general you are doing well, just don't forget to keep foreshortening in mind, experiment more with the negative space in between overlaps, as well as the size difference between the segments of your arrow, try to draw arrows with different kinds of twists and turns and different rates of foreshortening, remember that arrows are very flexible objects and can move freely across the world in all sorts of manners, so you should push yourself and explore the different possibilities.

Leaves

Starting with your arrows you're drawing your marks with a great deal of confidence which helps solidify the feeling of fluidity that arrows posses as they move through all the three dimensions of the world they exist in.

You're not making use of edge detail in your pages and even in your plant constructions it is looking pretty scarce. Because you haven't made use of edge detail your leaf structures are left very simple and you miss out on a great tool to help you further communicate the way your structures exist and move through space. Make use of edge detail whenever possible, and remember that only the last step of leaf construction - texture - is optional.

Branches

Moving on to your branches you're not sticking to the instructions for this exercise as closely as you should. While it's good to see that you're drawing your edges in segments you're not always extending your marks completely up to the halfway point between ellipses, which partially removes the healthy overlaps we seek to achieve in these structures.

So remember how branches should be approached, by having your segment start at the first ellipse point, extending it past the second ellipse and fully up to the halfway point to the third ellipse, afterwards you'll start a new segment, making sure to place your pen at the second ellipse and repeat this pattern until your entire branch is complete.

For ellipses it's good to see that you're making an attempt to always draw through them twice, as that allows for a smoother mark overall. When it comes to your application of the ellipse degree shift to your branches it can be improved, as it stands your degrees are too consistent and hardly change which is a mistake that flattens your structures. Remember that as a form shifts in relation to the viewer, so will the degree of the ellipses within that structure also shift.

Plant Construction Section

And lastly let's take a look at your plant constructions, which are starting to come along well. You're generally making use of the construction methods and techniques introduced in this Lesson which helps you create the illusion of tridimensionality in your work, you're not only trying to capture what these structures look like, but you also focusing on how they work, how they exist fully in tridimensional space by drawing through your forms and thinking about the way each piece of your construction exists in relation to one another.

This is all very good and it's helping you develop a strong sense of spatial reasoning, there are only a couple of things that if kept in mind will help you keep improving your skills.

When approaching cylindrical structures such as plant pots make sure to start with a minor axis in order to keep your several ellipses aligned to each other more easily. Going further don't forget to construct the outer rim that's present in most types of plant pots.

Make sure to keep all stages of construction clear and specific, don't leave any spaces in between your leaf's flow line and it's outer edges, they must connect.

When making use of a boundary make sure to follow it specifically, don't let your structures go outside of it, or it may as well not exist.

Ease up on your lineweight, it's thick, with several passes going over the same marks and jump from one form's silhouette to another, which smooths everything out too much. Almost as if you pulled a sock over a vase, it softens the distinctions between the forms and flattens the structures out somewhat.

Instead lineweight must be subtle, used only to clarify the overlaps between the forms that are being built up, as explained here.

Final Thoughts

In general you're applying the concepts taught in this lesson to well. Your constructions are starting to look solid and tridimensional. I'm going to be marking this lesson as complete as I believe you're ready to tackle the challenges present in the next lesson, just don't forget to keep the points I've mentioned here in mind and apply it to your work. Good luck in Lesson 4.