Teeechnically you got this in way past my usual cut-off (I do critiques twice a week), but I took a peek at your work and it's very, very well done. Which means an easy critique for me! And therefore, a much more timely response for you.

Starting with your arrows, you're capturing how they flow fluidly and smoothly through space, and this carries over quite well into your leaves. You capture not only how they sit in 3D space, but also how they move through the space they occupy. As a whole I'm pretty happy with how you're tackling the more complex edge detail, in that you're building it directly onto the previous phase of construction and not redrawing the entirety of the edge or zigzagging it back and forth to create a more loose relationship with the earlier scaffolding. That said, it is best to break up each "bump" into its own separate stroke, rising off and returning to the previous edge. This will help forge as solid a relationship as possible with that earlier phase of construction, building off how the leaf was established to move through space previously.

Moving onto your branches, this area's a little bit off the mark, in that it seems you weren't as fastidious here in following the instructions entirely to the letter. In the instructions here, I mentioned that your previous segment should go from the first ellipse, past the second and halfway to the third. Then the next segment would move from the second ellipse, past the third, and halfway to the fourth. And this would repeat, leap-frogging. Now, you're not far off from this, but you were a bit sloppy in a number of places. For example, you tended to start your segments a little head of the previous ellipse, and didn't quite extend most of them fully halfway to the next. As a result, the intended overlap was minimized. This overlap is important to ensure that the segments flow more smoothly and seamlessly from one to the next, and it reduces the "visible tails" that we're seeing here and there in your work.

Now, moving forward through your plant constructions, your work here is for the most part very well done. Technically I did state that the demonstrations should make up less than half of your plant constructions (you appear to have submitted 7 instead of 8 constructions, and 5 of them were from the demos), but I'll overlook all that as you clearly know what you're doing here. There are just two issues I want to address, though technically they are the same issue:

• Looking at your apple, you started out with a ball, and then extended its silhouette out to create the base, ultimately redrawing the entire silhouette of the apple as a whole - including the parts the ball already established. This is incorrect, though not something we're expected to discuss until the next lesson. When dealing with a three dimensional form, once its silhouette has been drawn, you should not be attempting to alter it. Reason being, the silhouette of a form is a 2D shape - and if you make changes in 2D space, then you'll effectively flatten out aspects of your drawing and undermine the illusion that we're looking at a 3D object. Instead, we build onto our structure by adding additional 3D forms and defining how they intersect or relate to the existing structure, as shown here. Now obviously that's a lot of work for drawing a simple apple - but the drawings we're doing here aren't focused on creating a pretty end result. Each drawing is an exercise in spatial reasoning, so establishing these relationships between forms is important as far as that goes.

• Looking at the ginger root we get a similar problem, but coming out differently. Specifically this section and this one, you've basically cut back across the silhouette of the initial masses you'd drawn, as explained in these notes. Now, along the very bottom you actually applied this kind of subtractive construction correctly, by drawing a contour line all the way around to split the form into two distinct, three dimensional parts. The key difference is that the two areas I highlighted don't maintain a clean, tight relationship with the three dimensional structure you started with. Instead they try and act like the original structure wasn't really there - they ask the viewer to ignore it, and that's simply not going to happen. And so, you end up with a contradiction on the page - two independent forms that exist within the same space.

As a whole, avoid any kinds of changes to the silhouette of a form. Instead, always interact with the forms in 3D space, by either cutting them with contour lines (usually this is best left for geometric construction rather than organic), or by building upon them with the addition of new, complete forms.

So! With that laid out, I'll go ahead and mark this lesson as complete. Keep up the great work.