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1:28 AM, Friday August 7th 2020
Starting with your arrows, these are generally drawn such that they flow quite nicely through space. You do have a few that get a little weird in places - mainly the one in the bottom left, which gets extra skinny just before it gets to the arrowhead, and the one just beside it seems to refuse to twist (as explained here), but otherwise they're still well done.
While I do feel that your leaves don't quite show the same sense of flow and fluidity that we see in your arrows (they're a touch more stiff, and I think you can stand to think more about how your initial flow line actually pushes through three dimensions, and how it represents the force of the wind driving the leaf as it moves around), this is something you definitely improve upon in your plant constructions, so I won't dwell on it here.
Moving onto your branches, it doesn't seem to me like you're handling the transitions from one segment to the next quite correctly - or at least not in many situations. I'm catching a number of places where you only extend your segment a little past the previous ellipse, instead of extending it fully halfway towards the next ellipse. This is important because it results in a healthier overlap between the segments, which is an important part of how we get them to flow smoothly and seamlessly together, as shown here. As a result, you tend to have more visible hitches in a number of places, rather than continuous, smooth transitions from segment to segment giving the impression of a single continuous line. I suspect this is why you appear to be somewhat hesitant to use this technique in your actual plant constructions.
Moving onto your plant constructions, while there are a couple issues I want to point out, you are largely doing a very good job. You're drawing through all of your forms, building things up from simple forms, and generally respecting the principles of construction throughout. As a result, your drawings tend to feel quite solid, and you capture a great deal of complexity while maintaining the illusion that these are all still three dimensional forms, rather than simple drawings on a flat page.
One of the issues I'm noticing is that at least early on, you tend to draw things quite small. Giving yourself ample room on the page to think through spatial problems is important. Not only does it make capturing the relationship between forms quite a bit easier, it also helps engage our whole arm when drawing, and reduces the temptation to fall back to drawing from our wrists.
Another concern, though quite minor in nature, is how you handle the wavy edges on the petals of the leaf on the right side of this page. Here you've zigzagged those edges back and forth across the original, simpler edge of the petal form. This in effect replaces the existing simple edge, rather than building on top of it. Construction is all about building on top of things - the first, simple edge establishes how the leaf as a whole exist in space, and then the waves we add on top of it make small adjustments rather than solving the whole problem all over again. As explained here, you should instead be adding individual segments for each little bump in the wavy edge, coming off the simple edge and returning to it. This also helps because we avoid zigzagging, which as explained back in lesson 1 can cause us to go into auto-pilot, no longer considering how that edge moves through 3D space, and just focusing on how it moves across the page.
Aside from these points, you're largely doing a very good job. As such, I'll go ahead and mark this lesson as complete.
Next Steps:
Feel free to move onto lesson 4.
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These are my favourite sketchbooks, hands down. Move aside Moleskine, you overpriced gimmick. These sketchbooks are made by entertainment industry professionals down in Los Angeles, with concept artists in mind. They have a wide variety of sketchbooks, such as toned sketchbooks that let you work both towards light and towards dark values, as well as books where every second sheet is a semitransparent vellum.