Jumping right into your arrows, you're off to a great start, drawing these with a ton of confidence to help push the sense of how they flow through the world. This carries over quite nicely into your leaves as well, where you've captured not only how they sit statically in 3D space, but also how they move through the space they occupy. In addition to this, you're handling the addition of edge detail and the tackling of more complex leaf structures quite well - I'm pleased to see that you're maintaining tight, specific relationships between each phase of construction, and that the edge details are being built up one little bit at a time.

Carrying over into your branches, I'm pleased to see that you're layering your edge segments quite well (keep pushing to extend them fully halfway to the next ellipse though to get more of an overlap and improve the smoothness and seamlessness of the transition from one segment to the next), and I'm also pleased t osee that you're shifting the degree of your ellipses according to the orientation of each cross-sectional slice.

Overall, your work throughout the lesson holds to this - you're diligently following the instructions, building up your constructions from simple to complex, maintaining tight, specific relationships between each phase of construction so as to ensure that the solidity we achieve early on through the simple forms is able to carry forward as we add more complexity, and your addition of texture/detail doesn't contradict or overshadow the core constructions that lay beneath them. I do however have a few quick things to call out:

  • Firstly, for this drawing I noticed that your underlying construction, specifically for the fruits/hanging things themselves, is visibly lighter and fainter, with the later lines being darker and effectively redrawing them in their entirety. This isn't something you do often, but it is inappropriate for this course. Only redraw the parts that change, and allow the earlier phases of construction to stand for themselves where they can. Keep in mind that our approach here throughout these drawing exercises (each drawing is in fact an exercise after all) does not involve a sketch followed by a clean-up pass. It is all a process that has us solving spatial problems, and considering how our constructions build up in three dimensions, one piece at a time.

  • Secondly, be sure to build up any flower pots - or really any cylindrical structures - around a central minor axis line to help in aligning the various ellipses to one another. I am pleased to see that you're including an ellipse inset within the opening to establish the thickness of the rim - that's something many students forget to do.

  • Lastly, there are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. Some pages are definitely more guilty of this than others - for example, this one has a number of smaller drawings, where the space is definitely being constricted, whereas this one is fine. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

So! I'll go ahead and mark this lesson as complete. Keep up the great work.