Hello edravi5340, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.

Arrows

Your lines are looking fairly confident and smooth, which helps communicate a nice sense of fluidity in your arrows as they move through the world. You're keeping foreshortening in mind while constructing your arrows which allows you to make good use of perspective and the depth of your page, this gives a nice extra layer of tridimensionality to your arrows.

Your usage of hatching helps you establish how your arrows twist and turn in space and further your own understanding of the tridimensional space these objects occupy, but do remember that your hatching lines must still follow the principles of ghosting and mark-making, they must have clear end and start points, be carefully planned and execute and not end at arbitrary points. It's good that you're making use of added line weight, but remember that this lineweight must be added on top of the overlaps, and with subtlety.

You've done a good job on this exercise, what I'd like to tell you so that can keep getting the most out of this exercise is to actually encourage you to get out of your comfort zone more often the next time you tackle this exercise, try arrows with different kinds of twists and turns and different rates of foreshortening, keep in mind that arrows are very flexible objects and can move freely across the world in all sorts of manners, so you should push yourself and explore the different possibilities.

Leaves

The linework for your leaves is looking smooth which helps communicate their fluidity and sense of energy, it's good that you're not only trying to capture how these structures sit statically within space, but also how they move across it from moment to moment.

The way you're drawing your edge detail needs some work, while it's good to see that you're not trying to capture more than one piece of edge detail at a time you're often constructing it subtractively which should be avoided, instead, make sure to always construct your edge detail carefully, and additively, on top of your construction, as cutting back into our forms can cause us to focus too much on manipulating the 2d shapes on the page, instead of how our marks represent edges in tridimensional space.

You must also remember to put your edge detail down with the same thickness as the rest of your linework, so as not to encourage yourself to redraw more than you strictly need to.

For your addition of texture to your work it's good to see that you're focusing on the cast shadows present in your structures, but there's still not a lot of focal points of detail in your work, and your shadows are majorly made up of single lines, take a look at this demo for how you can create shadow shapes that are more dynamic.

Take a look at this informal demo on how to approach leaf texture, and make sure to give these reminders on how texture works in Drawabox a read.

Branches

Moving on to your branches they are coming along decently made as you're generally following the instructions for the exercise, but they can still be improved. While it's good to see that you're drawing your edges in segments you're not always extending said segment completely up to the halfway point between ellipses, which partially removes the healthy overlaps we seek to achieve in these structures.

So remember how branches should be approached, by having your segment start at the first ellipse point, extending it past the second ellipse and fully up to the halfway point to the third ellipse, afterwards you'll start a new segment, making sure to place your pen at the second ellipse and repeat this pattern until your entire branch is complete.

For ellipses it's good to see that you're making an attempt to always draw through them twice, as that allows for a smoother mark overall. When it comes to your application of the ellipse degree shift to your branches it can be improved, as it stands your degrees are too consistent and hardly change which is a mistake that flattens your structures. Remember that as a form shifts in relation to the viewer, so will the degree of the ellipses within that structure also shift.

Plant Construction Section

And lastly let's take a look at your plant constructions, which are coming along quite nicely made. You're generally making use of the construction methods and techniques introduced in this Lesson which helps you create the illusion of tridimensionality in your work, but you are also facing a couple of obstacles which impact the quality of your work. As such here are the issues present in your work that should be addressed, so that you can get the most out of these exercises.

First things first, an issue that hurts your work without you even realizing is the fact that you're pre-planning the amount of constructions you want to fit on a given page before you've even committed to any of them. Because of this your pages have big empty spaces that could have been better used not by adding more drawings to your page, but instead by limiting them, which would allow you not only more room to work through the spatial reasoning challenges that arise when tackling these exercises, but also give you enough space to fully engage your whole arm.

As it stands your constructions are too small and you have also chosen some very complex structures which has limited your ability to make use of the construction methods and techniques introduced to their full extent.

Always keep in mind that the construction methods and techniques introduced in this course must always be applied to your work, as they're tools which will help you construct much tighter and solid looking structures, there are times where you deviate from the construction methods by not drawing these leaf structures with the leaf construction method. They're not guidelines or suggestions - they are rules.

Make sure that you're always drawing through your forms and constructing them fully, I've noticed that in several of your constructions you don't draw through some of your forms, such as leaves or branch like structures, this limits your ability to work through these tridimensional puzzles and limits how much you're getting out of the exercise as not drawing throug your forms means relying on your observation skills, instead of engaging your sense of spatial reasoning and truly trying to understand how the object you're drawing works, where it comes from, what it attaches to.

For youf leaf like structures in your plant constructions there are times where because there are so many and they seem individually unimportant you're putting less time into each one and so they do not properly rise off and return to the existing stroke, or you end up zigzagging your marks which is a mistake that goes against the third principle of mark-making from Lesson 1. No mark you draw is unimportant - if you decided it was worth adding, it's worth giving as much time as it needs to be done to the best of your current ability.

Make sure to always construct your structures fully, do not leave them open ended, cap branch-like structures such as steams and cacti off with an ellipse.

Final Thoughts

In general you're applying the concepts taught in this lesson, your constructions are starting to look solid and tridimensional. I'm going to be marking this lesson as complete as I believe you're ready to tackle the challenges present in the next lesson, just don't forget to keep the points I've mentioned here in mind and apply it to your work. Good luck in Lesson 4.