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

Arrows

Starting with your arrows your linework is looking really smooth and confident, although with a couple of visible signs of hesitation. Remember to always plan your lines with the ghosting method and to execute them swiftly, from the shoulder, in order to avoid wobbling.

Generally your arrows are flowing nicely across the world and make good use of the depth of the page, although for this arrow it seems that you were really afraid of letting your edges overlap which caused several overlaps to bend unnaturaly, it seems that as you continued with your page you became more comfortable with letting the edges overlap, but there's still some spots where your edges could be a bit more consistent and natural, so keep working on this.

It's good that you're making use of added lineweight on your arrows in order to reinforce their depth, but don't forget that lineweight must also be added confidently and swiftly. Your hatching is neat and tidy and it's applied to the correct side of the overlaps for the most part, you do have one instance of adding it to the incorrect side here which disrupts the illusion of depth you wish to achieve with these objects.

• Perspective works in the following manner: things that are further away from the viewer will look smaller, and as they get closer to the viewer they'll look bigger. The way this affects an object of consistent size and width that stretches across space is that certain segments of this object will look bigger and others smaller, either gradually or dramatically depending on the perspective of the scene, as such the bigger part of the arrow will always be the one that's closest to the viewer so the segment that's behind it should be the one that you apply the hatching to.

Leaves

Moving onto your leaves they're a bit of a mix, some of them such as this one are quite fluid and energetic, but others such as this are quite awkward and stiff, this is because you're not always thinking of the flow line as a guide for how the rest of the leaf moves through 3d space, which causes you to draw the outer edges as very stiff, straight lines sometimes and draw most of your leaves as if they were being looked at straight on, with some unnatural folds, all of these issues come together and bring down the solidity and fluidity of your leaves.

Your usage of edge detail is starting to move in the right direction, it's good that you're adding each piece individually, instead of trying to capture too many of them at a time, as that allows you to create a more solid construction and maintain higher control over your marks. When adding edge detail, or any other new phase of construction to your work, make sure to keep the line thickness of your marks roughly consistent with the previous lines, so as to not encourage yourself to redraw more than you strictly need to.

And lastly for edge detail, keep in mind that it should always be approached additively whenever possible, avoid cutting back into the forms you've already drawn as that can cause us to focus too much on the 2d shapes on the page, instead of the 3d edges they represent in space.

It's good to see that you're tackling more complex leaf structures, that'll help you develop your abilities further.

Branches

Moving on to your branches you're missing one of the most important parts of the instructions for this exercise, for the most part in your branches you're not drawing your edges in segments, in the parts where you did draw your edges in segments you stopped your marks around the ellipse point, when instead you should have extended your lines up to the halfway point between ellipses.

So remember how branches should be approached, by having your segment start at the first ellipse, extending it past the second ellipse and fully 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 the pattern until your branch is complete.

Onto your ellipses you're making the effort to draw through them twice, but some of them haven't been drawn through, so remember to always ghost as many times as needed and to only lift your pen once you're sure you've execured your marks twice. You're varying the degrees of your ellipses across the length of your branches which helps reinforce the feeling of volume and tridimensionality in your branches.

Plant Construction Section

And lastly let's take a look at your plant constructions, which are looking fairly tridimensional and well constructed, you're developing a strong sense of spatial reasoning and starting to grasp the concepts this lesson seeks to teach, but there are still some issues present in your work which are holding you back from your full potential, you should address these issues the next time you tackle these exercises in order to get the most out of your practice.

In this construction the red circles mark the inner stems of the flower, which you did not fully construct, not only did you only draw the parts of the stem which were visible to the viewer, which is a mistake, but you drew the stem forms as single lines and in some cases, you drew their silhouette, but all of these ways to approach drawing don't communicate any form, they don't create clear relationships between forms, and they don't help you understand how each part of the structure you're drawing sit in space in relation to one another.

For these flowers you're not drawing their petals with the leaf construction method, and you're skipping ahead with construction steps, attempting to capture the complex forms of the petals instead of constructing the structure from simple forms first, and then gradually adding complexity to the structure.

• Keep in mind that the methods and techniques introduced here are not suggestions or guidelines, they're tools which have the explicit purpose of helping you deconstruct these 3d objects, and then capture this tridimensionality in your 2d, flat piece of paper. They help you capture the characteristics of these objects and understand how these structures exist in 3d space - but they can only do this when they're employed, as such always make use of the techniques and methods introduced, you made use of a boundary line as well as edge detail in the flower construction which is really good - if those two techniques were employed alongside the leaf construction method you'll be able to get the benefits of all the techniques combined.

• You have a tendency to add too much lineweight around the silhouettes of your plant constructions sometimes, such as in here, this softens the distinctions between the forms and flattens the structure out somewhat, almost as if pulling a sock over a vase. As mentioned before, lineweight should be added subtly, with only a single line, and only with the purpose of helping clarify the distinctions between overlaps.

This construction is particularly well made as you draw through all of your forms which allows you to define the different relationships between forms as well as understand how each petal exists in 3d space, however there are some jagged points to your leaves, which hurts some of their fluidity and energy. In order to avoid this remember to always draw your leaf structures with single, smooth curves when capturing each step of construction.

• When drawing plant pots, make sure to do so around a minor axis as that'll help you keep your ellipses aligned to each other more easily. On top of that, go further and construct the rim that's found around the border of most plant pots with new ellipses.

There are some times where you make use of a lighter construction underneath your work, such as for this construction, this is a mistake as it makes you undermine previous phases of construction and not respect the solidity that they communicate. Keep in mind that Drawabox is not sketching, all the marks you make denote edges in 3d space and thus must be respected so as to not harm the overall solidiy of your construction.

The boundaries in your water lily don't seem to denote anything. This shape denotes a decision being made - how far out your structure should extend, if your next phases of construction won't abide by it, it may as well not exist.

Final Thoughts

In general your work is good, you're starting to understand the concepts this lesson seeks to teach, you're stumbling upon a couple of roadblocks which harm some of the solidity of your work and stop you from making the most out of this lesson.

I believe you're ready for the construction challenges in the next lesson, just make sure to be aware of the issues pointed out so that you can avoid them in your next pages. I'm going to be marking this submission as complete, good luck in Lesson 4.