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

Arrows

Your lines are looking smooth and confidently drawn, which helps with conveying the sense of fluidity that arrows carry as they move through space. Although with this arrow the bottom line is looking a little bit too thick. Remember the principles of mark-making from lesson 1, when you commit to a line, even if it didn't turn out the way you'd hoped just move on.

• If you were adding lineweight instead, remember that lineweight should be added with a single confident stroke and only to overlaps of the arrow.

You're starting to understand the concepts behind arrows, but you still seem afraid of overlapping them too much, which in turn causes the arrow to look flat. Remember to push yourself on the different sizes between arrow segments and the perspective of your arrows, as you have a good use of perspective on this arrow ( although the shading of it is on the wrong side of the bend ) and this one, it would be nice to see you applying more perspective to the others as well.

You also have a minor consistency problem with the size of your arrows, this can be addressed by building your arrow in segments through the use of the ghosting method as a way to gauge if the width looks right beforehand.

To finish this section, a segment of this arrow wasn't drawn through, this shouldn't happen as we'll get drawing through all our forms in thie course, and with arrows in specific we draw the second curves underneath in full, please revisit the instructions on arrows for more information.

Leaves

Your leaves are generally flowing very well, and I'm very pleased to see you making use of the additional construction method for the more complex leaf types.

But, although your leaves have a good flow, they're still looking a bit flat as they are all oriented in similar ways with no folds, overlaps or bends. Remember the concepts that we learn in the arrows exercise of how to make a flat subject feel tridimensional and familiarizing ourselves with the depth of the space instead of being limited to our 2d page.

Leaves are an extension of this concept, so they should also have folds and perspective applied to them, as of now it seems you attempted to stay in your comfort zone, but you should also be attempting to draw different orientations of leaves as it's important for plant constructions where leaves will rarely face only the viewer, with no overlaps or folds.

And lastly on your edge detail you have a habit of zigzagging your edge detail such as in this leaf which goes against the third principle of mark making from lesson 1 and is something you generally want to avoid. Take the time to think about your edge detail and make sure not to rush through this step.

Branches

Onto your branches, you seem to understand the exercise, but there are quite a few places where you're falling short by not following instructions.

These are: Redoing lines, not drawing through your ellipses and not employing the superimposed lines method for branches. It's important to maintain a nice and healthy overlap between each segment of the branch, but by not following the instructions by redoing lines you go against the markmaking principles in lesson one, making uncertain and unconfident lines which hurt the solidity of your construction in the end, and by attempting to draw the sides of the branch in one stroke, you lose control of your line.

Remember how branches should be approached: by starting a segment at our first ellipse, continuing past the second, and stopping halfway to the third, with the next segment restarting the pattern from the 2nd ellipse until you finish the branch.

And lastly, remember to (draw through your ellipses twice, even small ones.

Plant Construction Section

Onto your plant constructions, most of your constructions are looking alright, and the pitcher plant in particular is looking pretty good, but there are a couple of different points I'd like to address.

• Firstly, a reminder not to draw lighter.

Drawing lighter tends to make one think of drawabox exercises as sketching, what we are doing here is not sketching, we're working through exercises created with the purpose of developing our sense of spatial reasoning, as such all steps of the construction process must be given equal importance by being drawn in the same rich shade of black, with extra lineweight being added only to differentiate between overlaps.

• Another thing is to draw through ellipses twice.

I've already mentioned it in the branches section, but it's still a problem in your bigger ellipses, such as with the ellipses on top of your king oyster mushroom, which has a very solid construction otherwise.

• You should also remember to construct pots around a minor axis.

• Draw through your forms.

In your attempt at the daisy demo you don't draw through some of the petals and instead rely on your observation skills to copy the general shape of the subject, you also do this with the potato plant, the potted plant ( where you also don't employ the branch construction method -) and your first plant page. And for this particular plant you didn't employ any methods of construction introduced previously, such as basic forms, or the leaf construction method.

• Remember that the purpose of these exercises is to develop our spatial reasoning problems through the use of drills. Therefore even if only a part of the subject we want to draw is visible, all forms should always be constructed fully to allow our brains to work through these spatial reasoning problems properly.

• This is actually where lineweight comes into place, in the case of too many parts of the construction process overlapping one another, we make use of lineweight as outlined here to define where the forms sit in space in relation to one another.

Lastly, I'd like to go into texture.

Coming back to your mushroom, you did a good job with it's construction, but the texture on the cap and the body aren't being approached in the best manner. When adding texture to plants the concepts of spatial reasoning and texture from Lesson 2 should still be kept in mind, even if shadow shapes are very thin, avoid drawing them as single marks. Instead approach it in a two step process by outlining the shadow shape and then filling it in as outlined in this demo, this forces us to think about the relationships between the cast shadows, the forms that cast them and neighbooring surfaces.

This is also visible in your hibiscus.

Final Thoughts

There's some good improvement here as you did well in most of your demos, but you're still falling short of a couple of these concepts by not following instructions carefully and possibly rushing through some steps. Remember to pay close attention to the instructions of each exercise, if you're not sure of a step you can always revisit the instructions or ask for clarification in one of the lesson channels in the discord server.

I'd like to make sure you understand and can apply these instructions properly and consistently before moving you to the next lesson, as such I'm going to assign you some revisions.