Starting with your arrows, you've got them flowing quite nicely across the page, as you've drawn the lines with a good deal of confidence. Do keep in mind however that the spacing between the zigzagging sections should be getting narrower and tighter as they move away from the viewer, as shown here. This will help you capture a clearer sense of depth in the scene.

Moving onto the arrows, you've done a great job of capturing the same kind of fluidity here, nailing down not only how the leaves sit in 3D space, but also how they move through the space they occupy. That said, this exercise isn't really finished. You appear only to have taken them as far as step 2 of the instructions, and neglected to build up any edge detail along the structures.

Continuing onto the branches, your linework is once again looking nice, although the ellipses are a little on the stiff side. Make sure that you're drawing through them two full times before lifting your pen, and be sure to execute them using the ghosting method, concluding in the same kind of confidence execution you use for your other lines.

Looking at the branch structures themselves, it seems like similarly to the leaves you may not have read through the instructions for this exercise as thoroughly as you could have. As explained here, it's important that you extend your edge segments fully halfway to the next ellipse, and that each subsequent segment starts at the previous ellipse, resulting in a healthy overlap between them that allows them to flow more smoothly and seamlessly from one to the next.

Moving onto your plant constructions, the bones of the process is certainly there, but there's definitely a lot of signs that you aren't necessarily investing the time required to actually complete this work to the best of your current ability. In simpler terms: you're rushing. Looking at the fact that you did happen to submit this just around the time the 14 day cooldown period elapsed, I feel I should remind you that the 14 days is not a deadline. It is a minimum to encourage students not to rush through their work, because the critique you are given can only be as helpful as possible if the work you are submitting accurately reflects the best of what you are currently capable. It's not about asking for perfect work - just that you invest the time to think through every mark, before executing them.

The ghosting method, which we talk about back in Lesson 1, serves as the backbone of how we need to be thinking throughout this course. It separates the process of mark making into three distinct stages:

• First we assess the problem, and identify the specific nature of the mark we wish to draw. We think about the job the mark is meant to accomplish, and how it should be drawn to best achieve that goal. If it's a line with a start and end point, putting down a small point to mark them out helps in this regard. If it follows a curve, putting another point somewhere in the middle can help too. Anything to help our brain maintain all of this information at the same time.

• Next, we prepare to draw the mark by ghosting through the motion required to draw it. This will help improve our accuracy, taking the orders from the previous step and familiarizing ourselves with how our arm needs to move to achieve that stroke. It is not an aimless flailing - it is a purposeful repetition of motion, building familiarity and comfort.

• Finally, we execute with confidence. Despite the time invested in the first two steps, our mark may not come out where we wish it to, but our only focus here is to execute it without hesitation, to make a smooth, consistent stroke on the page. While success isn't guaranteed, proper attention being paid to the planning and preparation phases will increase our overall chances. With practice of this whole three step process, those chances will also improve to the point that mistakes will be rare - or at least mistakes that actually have a meaningful impact will be.

Ensuring that you take the time to plan your strokes can help avoid cases like this attempt at adding edge detail to a leaf. I am admittedly pleased to see that you did attempt to follow the rule of not zigzagging in other leaves, although in all these cases I do feel a little more planning and intent behind the strokes would have helped a great deal.

Since those are primarily areas that just need more time investment, I won't dwell on them further.

Another suggestion I do have is that when you construct your flower pots, it helps to start with a central minor axis line (like Lesson 1's funnels exercise), so you have something around which to align your ellipses. From there, remember to keep the ellipses on the end farther from the viewer wider than the end closer to the viewer. Don't be afraid to add lots of ellipses - for example, in this one you neglected to add an ellipse for the bottom of the rim section. Also, including an ellipse inset within the top one will help provide it with a sense of thickness at the opening. Another ellipse to denote the level of the soil itself is also a good idea.

You definitely moved in that direction here, but didn't draw the ellipses in their entirety. Treat your drawings as though you have x-ray vision. Drawing a whole ellipse is generally easier to get right than drawing a portion of it, so feel free to draw the whole thing. It's just like how we draw each of our leaves in their entirety, regardless of where they overlap, so we can capture how they exist in 3D space, and how they relate to one another within it. That's something you've done a pretty good job of.

When it comes to construction, remember that the core principle of the approach is about breaking complex problems into smaller, separate ones. We want to avoid jumping ahead into greater levels of complexity, and solve one thing at a time. So for example, you might see multiple additional phases of construction as shown here on another student's work, simply because we wouldn't otherwise have enough structure to support that level of complexity with just one step.

The last thing I want to call out has to do with detail. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

So- always focus on the idea that we're not capturing the things we can see with our eyes, but rather the things we'd be able to feel with our hands. Any sort of patterning or local colour can be ignored, and everything else - actual 3D texture - should be implied through the use of cast shadow shapes only, not outlines, as discussed back in Lesson 2.

Generally speaking when a student rushes through their work, I'll send them back for a full redo, but I won't do that here. Instead, I'm going to assign some additional pages of revision below. Be sure to take your time working through them - focus on each drawing as an exercise, an experience meant to teach and help you learn, rather than just something to get through.