I've looked through your profile and noticed you went to lesson 4 before receiving critique on this lesson as explained in the instructions in lesson 0. Although it's not a strict requirement for free users, it's still advised against doing this as you won't get as much out of this course. Despite that, I will critique your work here and the next lesson as if they had been critiqued prior to moving onto the next lesson.

With that out of the way, starting with your arrows page, what stands out the most to me is that the lines look hesitant overall. Your initial flow line had some hesitation, but that didn't stand out as much. It's when you drew the other line below it in an attempt to replicate an identical curve where it stood out much more as well as when you started adding line weight, carefully tracing over your original lines. Remember that lesson 1 tells us that marks must flow smoothly. This means that a smooth confident line is more important than an accurate one, even though students tend to gravitate towards being accurate instead. The ghosting method - which should be applied to every mark we make, including line weight - is a tool we use that helps us improve our accuracy but ultimately execute out lines with confidence.

When it comes to the arrows exercise, confident lines help capture a sense of movement. When those arrows are wobbly and stiff, the sense of movement is greatly diminished and the illusion is broken.

Additionally, make sure you're compressing your arrows more as it moves away from the viewer as shown here. This'll help capture a greater sense of depth in the scene.

Moving onto your leaves, the issue with hesitant lines does come up. Also, it looks like you're having some trouble getting the leaves to fold in on themselves in a way that looks convincing. You need to think about how they move through all three dimensions of space, as explained here. The key to this is flow line. Once you lay down that initial stroke, you should focus on how it moves through space and how the leaf itself gets pushed along by the wind and air currents. Remember that the flow line determines your choices, you cant turn the leaf in space if the flow line itself is too stiff. So treat it the same way you treat the arrows exercise.

You are drawing your leaf edges with separate strokes, however. I'm glad to see you approaching the leaves in phases, building over the previous stage instead of trying to do so with zigzagging lines. Although i do recommend you take a look at the leaf construction in the informal demos page to help improve how you approach complex leaf structures.

When applying texture be sure to think of the veins as small tubes casting shadows rather than a series of lines. There's an example of this in the leaf instructions.

Continuing onto your branches, these are looking pretty good. The only thing that sticks out is your ellipses are a bit wobbly and hesitant. Remember that when doing ellipses, you should do so using the ghosting method with your shoulder. Make sure you're going over them 2 full times before lifting your pen. Also, try to think about how the degree of the ellipse changes as it moves along the branches to convey their placement relative to the viewer as explained in the lesson 1 ellipses video.

Finally, the plant constructions. You're moving in the right direction in some ways, building these in stages from simple to complex. Although there are still a number of things that's worth calling out:

• First and foremost, as much as i appreciate your enthusiasm for filling up your pages with lots of drawings, the most important thing is to make sure that you're giving ample room as a drawing requires. Drawing smaller has its downsides, it can limit our brain's ability to solve spatial problems and with engaging our whole arm while drawing. Both of these make the drawing process clumsier and impede what we get out of it.

• I'm noticing that the struggle with having the leaves fold in on itself carries over in your petals. Refer to my critique above for more details but the jist of it is that you're focusing on how they sit relatively flat on the page, rather than how they move through all three dimensions of space.

• Another issue is that you're not drawing each and every form in its entirety on some of these, opting instead to draw them insofar as they're visible. Specifically, on these three. As you can see from this step of the daisy demo, you'll see that each form is drawn in its entirety. The sunflower you drew should've taken a similar approach to the daisy demo, like this. Notice how I've drawn through all the petals here. Admittedly, this was traced but the point is that we need to be able to see each and every form in three dimensions rather than a series of flat lines on a page.

• You don't appear to be using the leaf construction at all here, although there is opportunity to do so on the petals of this what I'm assuming is a tulip. You jumped to the complex waves which look half-assed and zigzagged. Here's the approach you should've taken.

• Once you put down a form, do not alter the silhouette. The silhouette is just a shape that represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you wont alter the the form it represents, you'll just break the connection. This example shows us what happens when we cut back into the silhouette of a form.

• One last point is on texture. I'm seeing alot of repeated patterns which suggests that you're relying on memory rather than observing your references directly, which is subject to oversimplification. On this mushroom, I see that you enclosed your forms rather than only drawing the cast shadows. This should be avoided as explained here in the texture analysis exercise from lesson 2.

Although this work calls for some revisions, I'll mark this as complete since you've already completed lesson 4. If you wish to receive feedback more quickly, go to the discord server and ask for it in the critique exchange channel. There, you'll be told to do 5 critiques and either Elodin or someone else will critique your work. Instead of waiting for months, this process should take a few days given your submission is at least 1 week old.