Starting with your arrows, you're doing a great job of drawing them with a great deal of confidence and fluidity, capturing how they move through space in a believable manner that conveys a sense of depth in the scene. Some of them are admittedly just a little sloppy at times, but for the most part they're done well. Just remember to always take the time to plan out your strokes mindfully, using the ghosting method, and avoid rushing into things.

That sense of confidence carries over nicely into your leaves, where you're not only capturing how they sit in space, but also how they move through the space they occupy. You're also handling the addition of more complex edge detail fairly well, building it onto the existing structure. There are two main things I want you to mind when doing this in the future:

• Right now, when you add the little individual bumps to your leaves' edges, there is a tendency to leave little gaps, to have the new line not quite flow off the previous edge, or not merge back into it seamlessly, as we see here. Keep working on ensuring that your forms' silhouettes remain completely seamless and closed. That generally means taking a little more time, using the ghosting method, and making sure that you're drawing those kinds of strokes from your shoulder. The wrist can result in little flicks that send a stroke off course.

• When drawing the next phase of construction, you're currently making those marks darker than the existing structure. Try to stick to the same general line thickness. You can always jump in with a later pass for line weight once you're done to help clarify any particular overlaps (though that isn't something that'll come up much in this exercise).

Continuing onto your branches, there's one key mistake - you're not extending your edge segments fully halfway to the next ellipse as explained in the instructions. As a result, the lack of overlap between the segments misses the opportunity for a smoother, more seamless transition from segment to segment, which is one of the main focuses of this exercise. You may be rushing into the exercise a little too quickly here - make sure you're familiar with exactly what the exercise is asking of you, and follow it to the letter.

Moving onto your plant constructions, it's a bit of a mixed bag. Overall you're moving in the right direction, but there are some issues I want to address, and overall the tendency to rush is definitely still present. What I mean by that is, the amount of time you put into each individual mark seems to depend on how complex a drawing is. When you draw something with a lot more going on, you tend to spend less time on each individual mark. While this is pretty normal for students, it's contrary to your primary responsibility here - to execute each drawing, and every component in a given drawing, to the best of your current ability. That means investing the time needed to apply the ghosting method - specifically its planning and preparation phases - for every line.

The tendency to modulate how much time you put into individual marks based on the complexity of the overall drawing is something I talk about in the "purpose" section of the ghosted planes exercise from lesson 1. I recommend you give it a read.

Now, this isn't all doom and gloom - there are pages where you've actually demonstrated quite a bit of patience and care. For example, all the drawings on this page are put together with a lot of planning and time, and as a result the linework is clean and specific. Comparatively, this page which follows has leaves with gaps in its silhouettes, reminding the viewer that they're looking at a drawing rather than a solid object. Additionally, with the rose, you've focused on drawing more of what you see rather than constructing each petal individually to better understand how they exist in space.

The key thing about the drawings you do for this course is that it's not about the end result. Each drawing is itself an exercise in spatial reasoning, on understanding how each form you construct exists in space, and how those forms relate to one another in space. In order to achieve this, it's important to construct each form in its entirety, even when it gets overlapped by its neighbours. After all, a form doesn't cease to exist where we can no longer see it.

This is of course something you do adhere to more often than not - but when you get hit with something more complex that might feel a little overwhelming, you drop what you know and fall back to just attempting to reproduce what you see, rather than striving to understand it. Again - this is pretty normal for this stage. When you do end up overwhelmed by a particular subject matter, instead of jumping in and just drawing, take a step back, assess the situation, and look at the tools and processes you've learned thus far, seeing how they can be applied.

The last thing I wanted to call out for now is about how you've approached building up edge detail in some cases. If you take a look at the drawing on the far right of this page, you're handling this leaf well in the application of its edge detail, but with the others, you fall into a pattern of zigzagging back and forth across the previous phase of construction. I explain why this is a mistake here, but the main issue is that it results in a weak relationship between the phases of construction. Construction is all about starting simple - because simple structures are the easiest to convey in a way that feels solid and real. Starting with that, and then building on top of it, we can maintain the same solidity while building up greater levels of complexity.

When those relationships are loose or weak, however, it basically becomes more like we're redrawing the entire leaf - and in some cases you are, effectively creating a new complete outline for it, entirely separate from the original, and losing its solidity. As a result, you solve problems that have already been addressed (how that leaf moves through space), while also trying to solve further problems (how the edge itself varies with that wavy pattern). Handling multiple problems all at once simply yields a result that fails to accomplish any of them.

That is precisely why construction focuses on taking a complex problem and breaking it down into a series of smaller, simpler problems that can be solved one at a time.

Now, before I mark this lesson as complete, I'm going to assign a fairly minimal set of revisions. I'm not worried about your understanding of the material, but what I do want to see is you taking a little more time overall to apply the concepts, and to execute each mark to the best of your current ability. Your grasp of the material is coming along pretty well, but I know you can do this a little better than you are now.