Starting with your arrows, you're doing a decent job in executing your initial linework with confidence, which helps to push the sense of fluidity in how they move through the world, but this is somewhat undermined in how you're adding line weight with what appears to be a very chicken-scratchy approach. Remember the principles of markmaking from Lesson 1 - confidence in execution is paramount, and in order to achieve that, using the ghosting method even for your line weight is effective. Yes, it may lessen your accuracy and result in your line weight separating from the initial mark, but there are two things to keep in mind for this:

• As explained here, line weight should be focused only in the areas where overlaps occur, to help clarify them to the viewer

• And of course, everything we do in this course is an exercise - so if you're going to make mistakes, in order to learn from those mistakes, there's no better place to do it than in your homework.

Continuing onto your leaves, the pattern appears to hold, where your initial linework is decently confident, though can be improved by investing more of your time into the planning and preparation phases of the ghosting method, leaving the execution free to be as confident as you can manage. As you add additional edge detail however, similarly to how you added line weight I see more scratchy linework.

As you add edge detail, it's critically important that you do so with care - obviously mistakes happen (especially when we're still focusing on executing marks confidently), but investing your time properly in the ghosting method makes a big difference, and I'm seeing little signs of sloppiness suggest that you are not using that technique to its full potential. This may also be the result of drawing more from your wrist, and not from your shoulder using your whole arm. We can see a good deal of this here where your edge detail marks do not seamlessly rise off the existing edge and return to it - but rather, they overshoot a little, or leave little gaps. We do not achieve the sense that these marks are informing us of changes to the structure as it exists in 3D space - rather, this reminds us that we're not looking at a 3D structure at all, just lines on a page.

Moving onto your branches, I am certainly seeing a pattern. You are by no means lazy - throughout the lesson you've focused a great deal on filling up each page. The larger issue is that you're leaning more on quantity. You're not putting as much time into each individual mark as you could, or necessarily into going through the instructions as carefully as you could, but you are ensuring that you're made to draw a lot of marks. Unfortunately that isn't how this course works - a mark put down without thought and care is not nearly as useful to us, and so every mark demands a great deal of time, regardless of whether what you're drawing something simple or complex. You can refer back to this section from the ghosted planes exercise which goes over this concept in more detail.

Now, in regards to the branches exercise instructions, which you can see here, the way in which we draw our edge segments is specific. Each one starts at one ellipse, continues past the second, and stops halfway to the third. The next then repeats this pattern, starting at the second ellipse. This helps us achieve a healthy overlap between the segments, which in turn provide a smoother, more seamless transition from one to the next.

You're following this... in part. You're definitely aware of the general idea of how the exercise is meant to be applied, and there are places where you're applying it entirely correctly - but there are a lot of places where you're only extending your segments a little bit past the previous ellipse, and there are a lot of extra marks where there needn't be more than one.

And lastly, your plant constructions. On this front, I do have a number of things to call out:

• To expand on what I've already said, 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. 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.

• When tackling more complex leaf structures like this one, you appear to skip steps as explained here. In that example, you draw the entire silhouette of all the separate arms of each of these leaves. If you check the informal demos page, which has a lot of extra, useful information, you'll find this demonstration of a similar kind of leaf, where each individual arm as constructed as its own separate structure, before they're all merged together.

• When drawing cylindrical flower pots, be sure to construct them around a central minor axis line, to help you in aligning the ellipses. Furthermore, be sure not to just rely on the basic top/base ellipses, but rather include as many as you need to build out the entirety of the structure. That's going to include, at minimum, another one inset within the opening to establish the thickness of the rim, but also another to establish the level of the soil so the plant's stem has something to intersect with.

• Avoid leaving little gaps between the end of a flow line and the tip of the leaf or petal it governs, as we can see here on this daisy drawing. Construction is all about maintaining tight, specific relationships between the different stages of construction, which in turn allows us to pass the solidity we gain from the simpler stages forward as we build up more complexity.

• Also something we can see on that daisy - be sure to draw each and every form in its entirety, rather than cutting them off where they're overlapped by others. This course is all about understanding the way in which our forms exist in 3D space - drawing each one in its entirety helps us do this, and also helps us understand how those forms relate to one another in that 3D space. After all, a form does not cease to exist when it is blocked from our view.

As a whole, I feel there's a lot that could have been done to hold more closely to the principles shared in the previous lessons, as well as to follow the instructions from this lesson. As such, I'm going to ask that you try this lesson again. When you're done, you'll be able to submit it as a new submission, which will cost two additional credits.

I can understand that this will be an unpleasant thing to hear, but I assure you that you're not alone in this. It is not uncommon for students to get ahead of themselves when they start tackling more complex subject matter, and to not quite know yet how to approach the lesson material that puts its instructions first and foremost. It is easy to slip back into old processes. What is fortunate however is that we have caught this early, so you can address the issue, recalculate your trajectory, and move forwards from there.