In the future, be sure to post your submission as a single album if at all possible. Having a ton of different albums means having to jump around between them while doing a critique, which is considerably more time consuming.

Starting with your arrows, these are fairly well done - you're drawing them confidently and capturing a strong sense of fluidity. Just one small thing - focus your addition of line weight (the additional strokes you were adding) only to clarify the overlaps where the arrows fold back over one another. You don't need to be reinforcing the entire silhouette of your arrows (like the arrow heads). Remember that line weight is a specific tool - it serves to help clarify particular overlaps in specific localized areas. Your application of it is good - you're executing those marks confidently, and it's helping you maintain nice, smooth, fluid strokes - just be sure to apply it in a more targeted fashion, rather than trying to go back over the entire arrow form in its entirety.

Continuing onto your leaves, you are approaching the first couple of steps of this exercise well - you're focusing on capturing that flow line with a similar confidence, and are establishing how the leaf itself not only sits statically in space, but also how it moves through the space it occupies. When you start getting into adding edge detail to your leaves, however, is where you deviate from the instructions and examples quite a bit.

From what I can see in your work, you appear to be treating each phase of construction as an opportunity to redraw the leaf in its entirety. So we can see the lines from step 2 of the leaf construction process (as outlined here), and then a completely separate and distinct set of darker lines for step 3. This is incorrect.

Instead, as shown here, you should be building directly onto the existing structure established in step 2, only drawing the parts that change from phase to phase. Right now your current approach is resulting in a very loose, arbitrary relationship between the different stages of construction. Constructional drawing is, at its core, about breaking complex problems into a bunch of smaller, simpler ones. Each phase of construction solves a smaller problem, giving an answer to a question to something like "how does the leaf move through space". Once that answer has been given, you should not then be trying to re-answer it in a later phase. Instead you stick to the answer given previously, and build on top of it.

What you're doing amounts to establishing how the basic leaf structure moves through space (taking the answer from the flow line and expanding it into a larger silhouette or flat form), then attempting to establish it again in stage 3 while also adding more complexity. It results in you solving a lot of problems all at once, and therefore having your brainpower split up amongst the various tasks.

In many ways this is similar to the issue some students fall into, where they "zigzag" their more complex edge detail rather than building it up piece by piece, coming off the previous structure and returning to it as explained here in the notes. Your approach here takes it further, however.

Remember above all else that construction is not about creating a series of sketches, and redrawing the whole object at each step. It is about creating one drawing, and building upon the phases that came before. For a leaf like this one, it should have been approached in the manner demonstrated here where a basic leaf silhouette is used to establish the whole leaf shape, but then the individual "arms" would be defined as their own little leaf forms, with their own flow lines and all. This is similar to how we approach maple leaves as well, as shown here.

Moving onto your branches exercise, I find your approach here to be kind of haphazard. You follow the instructions correctly in some cases, and less so in others, but either way I'm very much getting the impression that you're still struggling to follow some of the core principles of drawing like the use of the ghosting method to plot and plan out everything before executing a single stroke. Instead, you tend to go back over your marks often (like in this especially sketchy branch), and also tend to be somewhat inconsistent in how consciously you're following the instructions for the given exercise.

The branches exercise has very specific requirements. You draw your segments from one ellipse, past the second, and halfway to the third, then starting the next segment at the second ellipse (going past the third, and stopping halfway to the fourth), as explained and demonstrated here. This is important, because it allows for a healthy overlap between the segments, allowing them to flow more smoothly and seamlessly from one to the next, giving the impression of something as close to as a single continuous edge as we can manage, but with the additional control of a series of shorter strokes. It's like chicken scratching, except instead of drawing wildly and randomly, those marks are each planned and prepared to work as cohesively together as they can.

There are also a couple other things to keep in mind with this exercise:

• Do your best to keep the branches width consistent throughout their lengths. You do a decent job of this in some cases, but you've also got others that get wide/narrow repeatedly, creating a sort of impression of a wet noodle. This inconsistency will undermine the form's illusion of solidity. Keeping the width consistent helps keep things simple - and simple forms are easier to interpret as solid and three dimensional than those that have a lot more complexity.

Now, moving onto your plant constructions, your work does improve. Key issues are still present - for example, the tendency to redraw the petals/leaves in their entirety, and the general tendency to be looser and sketchier than you ought to be. But aside from the issues I've already addressed (which will need to be addressed), you are moving more in the right direction, especially when following along with the demonstrations. Many of your own drawings are coming along nicely as well, but there are some like this one where you still tend to be very loose and sketchy, not really thinking through the individual marks before you draw them.

There are however some points I want to call out:

• First and foremost, don't make subsequent constructional phases darker than those before them. Line weight is added at the end of a drawing, and as discussed before, line weight serves a specific purpose and should not just be used to reinforce the silhouettes of all your forms. It is to clarify overlaps.

• To the previous point, I noticed that there were some drawings you appeared to do at least partially in ballpoint, and others in fineliner (and in some you'd switch from one to the other). From Lesson 2-5, every drawing you do should be drawn using fineliner exclusively.

• Again, as discussed before - apply the ghosting method to every single mark to ensure that you are only making marks that contribute to establishing a construction and your understanding of how it occupies space. Don't put marks down frivolously or thoughtlessly, everything should be the result of planning and preparation.

• When constructing flower pots, like this one, construct them around a central minor axis line to help keep your ellipses aligned to one another (as you would for any cylindrical form). Also, don't just construct a basic cylinder - you can add additional ellipses to capture further elements of the structure. For example, flower pots aren't just paper-thin - they've got a thickness around the rim that can be captured by placing an ellipse inset within the opening. You can also use another ellipse to establish the level of the soil within the pot.

• In a lot of ways, this flower is definitely among the better ones. One small thing though - do not leave an arbitrary gap between the end of the flow line and the end of the petal. The petal should end where the flow line does, because that flow line answers the question of how long the petal will be, along with how it's meant to move through space.

• On this pomegranate, you appeared to try to capture the form shading of the fruit (where the surface turns away from the light, it gets darker, and where the surface turns towards the light, it gets lighter). As discussed here in lesson 2, this should be left out of your drawings throughout this course. Areas of filled, solid black should be saved only for capturing cast shadows.

• I noticed that a lot of the reference images you included were actually pretty low resolution. They may have been resized, but in case they weren't - working from larger, higher resolution reference images will help a lot. With low resolution photos, our brains try to fill in a lot of the gaps to help us understand what we're looking at, but it often can be much harder to draw from them.

As a whole you definitely improved a great deal over the set, and while there were plenty of areas where you were very loose in following the instructions (and that will be addressed), i can see that you have steadily built up a better grasp of how to approach construction. I'm going to assign some revisions so you can show that you understand the points I raised here, but I'll keep them fairly minimal.