You are correct - 1 filled page refers to one side of a sheet, not both.

Before I get started on critiquing your actual work, I feel I should address one issue that is present throughout your homework submission. The pen you appear to be drawing with seems to be on its last legs throughout the submission. I'm actually not sure if you're just working with ballpoint (lesson 2 up to lesson 5 should all be done with a fineliner) or if you are using a fineliner that is just dying - but either way, the result is more or less the same. Your linework ends up being extremely faint in most places, resulting in a lot of broken lines and to varying degrees, places where you've ended up going back over your lines in ways that you really shouldn't. In order to avoid this, once your pen starts dying on you, please grab another. Remember that the reason we recommend the use of fineliners is specifically because they create these rich, dark marks without needing to press very hard. It forces students to commit to every mark they put down and keeps them from being able to sketch lightly and "explore" what they're constructing on the page. The ability to sketch more lightly is something I see you making use of in various points across this lesson. It's not something you use consistently - sometimes your linework is cleaner and behaves as though the pen's marks were solid, which is good. But there are plenty of other cases where you're definitely going back over linework in ways you otherwise wouldn't need to (like the drawings on this page.

Alrighty, onto the main critique itself. Starting with your arrows, you are drawing these with a good sense of confidence and fluidity. This sense of confidence carries over into your leaves exercise, although no doubt a good bit of that confidence comes from the fact that you're drawing in a more explorative fashion, putting down multiple lines where you should only be employing one. This entire manner of drawing breaks the principles covered in previous lesson, where every single mark you draw should make use of the ghosting method - planning and preparing before executing a single mark with confidence.

Continuing onto your branches, you appear to be doing a pretty good job here, although there are certain things that are simply harder to identify because of how the linework was drawn. From what I can see, you've drawn these branch structures in a way that achieves a smooth, seamless transition from edge segment to edge segment, though because your pen has been dying, it would indeed be considerably easier to hide the shift from one segment to the next. There are a couple other things I do want to call your attention to though:

• When doing this exercise, try to maintain a more consistent width through the full length of a given branch. Avoiding having the branch get wider or narrower through its midsection will help the form feel more solid.

• Remember to draw through each ellipse two full times before lifting your pen - it looks like you might be stopping at around 1.5 instead of hitting the full 2.

Moving onto your plant constructions, your tendency towards confident linework is definitely a good thing. Like in the branches, there are certain problems that simply aren't going to be easy to identify given how you've approached your linework here, but there are a few things that do stand out:

• While you're drawing your leaves and petals to flow quite nicely, there hare some cases where you're not drawing each leaf/petal in its entirety. For example, here you've only drawn each petal where it is visible, allowing its silhouette to get cut off where it is overlapped by another form. The drawings we're doing in this course are each of them exercises in spatial reasoning. The goal isn't to create a pretty drawing, but rather the better understand how the forms we're drawing exist in space, and how they relate to one another within that space. Drawing each form in its entirety is key to this, because those forms continue to exist even where we cannot see them. While there are definitely a number of these where you've drawn each petal in its entirety, the further into the set you get, the more you seem to focus on your end results, and the less likely you are to draw everything in its entirety.

• You're approaching building up more complex edge detail in your leaves correctly, you're just way too loose with it. As a result, you end up with a lot of gaps. Constructional drawing is all about keeping the relationships between your marks tight and specific, in order to keep working with forms that have a clear, solid, and enclosed silhouette. Once you start leaving gaps in your silhouettes, it compromises the integrity of the form and reminds the viewer that they're looking at a flat drawing on a flat piece of paper. That is why executing our marks with the ghosting method, executing one line at a time rather than sketching roughly is something we enforce in this course.

As a whole, I think it's fair to say the way in which you've chosen to approach your linework here (something I've mentioned countless times in this critique at this point, not to be a broken record about it) has made gauging your complete grasp of the lesson material here more or less impossible, and so I will require you to do some revisions. This time, with a fineliner that draws solid marks, using the ghosting method, and without sketching lightly. Approach these drawings the way you see me doing so in my demonstrations, executing one mark at a time, following ample planning and preparation to ensure the mark is going to contribute meaningfully to my construction.