Starting with your arrows, you're doing a great job here in drawing them with a great deal of confidence, which helps to push the sense of fluidity with which they move through the world. Do take a bit more time in applying the hatching lines though, as it appears that you may be rushing them a little, since they seem inconsequential. Any mark you put down should be given as much time as it requires to be drawn to the best of your current ability, and I do expect that given a bit more attention you're entirely capable of having them fit snugly within the surface of the arrow's ribbon, without overshooting outside of it (or at least without doing so quite as much).

That confidence and fluidity from your arrows generally carries over quite well into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through the space they occupy. Generally you're also handling the addition of edge detail quite well, although I did notice a number of places where you started to add more edge variation too soon, instead of building it up in successive stages, as shown here.

Continuing onto your branches, there are three main things I want to draw your attention to:

• Firstly, be sure to draw through all of your ellipses two full times before lifting your pen, execute them with the ghosting method, and engage your whole arm from the shoulder. All of this will help you achieve smoother, more confident ellipses.

• Be sure to extend the edge segments fully halfway to the next ellipse in order to follow the approach described here in the instructions. Right now you're somewhat minimizing the overlap between the edge segments, which gets in the way of achieving as smooth and seamless a transition from one to the next as we're pursuing here.

Moving onto your plant constructions, I think the best approach here is to go through your various pages and in point form jot down any thoughts or suggestions I have to offer:

• For the daisy demo, I noticed that you've got your petals narrowing to a point, with that point situated along the outside of that central bud. If you look at my demo however, you'll see that the flow lines penetrate into the central bud, and so they're only at their thinnest point inside of this other form, and by the time they emerge, they've got a fair bit of width to them, making them appear more natural.

• I also noticed that you drew 10 petals, but the demo consists of 16. It's extremely important that you follow each of the demos directly. Do not cut them short, do not alter their steps. Follow them to the letter so you can understand the process I'm employing, and then employ that process fully on your own. I also noticed that you stopped early with the potato plant demo.

• The petals on this sunflower tend to have fairly shaky edges, which adds little bits of complexity to them. I can also see some cases where the overall leaf structure is a bit more complex, similarly to those I marked out on your leaves exercise. Always start these structures out as simply as you can, and build up complexity in successive stages.

• I'm glad to see that on this one you constructed your flower pot around a central minor axis line, to help you in aligning your various ellipses. It also appears that you used more than just the basic 2 ellipses to establish a cylinder, but actually drew a couple to establish the "collar" of the pot. I would however also include in this another ellipse inset within the opening to establish the thickness of the rim.

• I also noticed that for the base of that flower pot, you've got one side edge going way off the mark. Mistakes like these certainly happen, but being sure to use the ghosting method consistently for all your structural marks goes a long way. I'm assuming in this case you drew the side edges then placed the ellipse, with it coming out larger than you intended - the planning and preparation phases of the ghosting method wont' outright eliminate this kind of mistake but it will make the magnitude smaller and also make them less common. At its heart, the advice here is to take your time with each and every mark, don't rush, and use the tools in your toolbelt.

• One last point about this same drawing - here you opted to draw many of the stems as simple lines. In the future, if a form has any thickness at all, do not represent it as a simple line. That goes for the rim of a flower pot, as it does for a plant's stem. A single line simply doesn't convey the information necessary to understand how the form exists in a believable fashion in 3D space, and so even if it makes it a little thicker than might be accurate, it's important you apply the branch technique here for the stems appropriately, ensuring that you're enclosing actual 3D space within the 2 edges of the structure.

• On this page, there are a couple issues in how you're adding this edge detail. Firstly, you appear to be adding several bits of edge detail with a single continuous stroke, falling into the zigzagging issue explained here. Every individual bump should be drawn with a single stroke rising off and returning to the existing structure. The other issue is that the linework can get rather shaky, adding unintentional complexity of its own. We see more of this here as well.

• Additionally here on the top left of the page, you've got a stray complex leaf structure that skips steps. You jump from defining the flow lines for each "arm" then going straight to the overall leaf structure, instead of defining each leaf shape individually and then merging them together as demonstrated here and here.

• This palm tree appears to be a case where you decided the individual leaves on each frond weren't terribly important, so you rushed them. This is not how you should be tackling such a problem in this course. I understand that some problems simply require a lot of time to deal with, but it is your choice which reference objects you choose to draw from. Whatever you choose, give it as much time as it requires - whether that means spreading it across multiple sittings, or whatever else you need. That is your responsibility as a student in this course.

As a whole I feel you're capable of doing much better than this. While there are issues that will simply be addressed with mileage and experience, a lot of the issues I've outlined here come down to choices you're making, and points from the lesson material (or from past lessons) that you may not be applying as stringently as you should be. Simply giving yourself more time - more time to go through the material, more time to make your choices, more time to observe your references, more time to construct each form, draw each shape, and execute each mark.

Additionally, you tend to only limit yourself to the most basic elements of the object you're studying, often skipping edge detail altogether. This may however be a misunderstanding - when the assignment says not to get into any texture and to focus only on construction, that doesn't mean to keep things simple. It means that you're still going to be pushing the overall structure of your construction as far as you can, using constructional techniques and building up from simple to complex. Texture refers to the small forms that specifically rest along the surface of another larger object, as discussed back in Lesson 2. You can still take a construction very far without getting into texture at all.

In order to help you address these issues, I've assigned a number of revisions below.