Starting with your arrows, these are drawn well. They're flowing fluidly through space, and capture a strong sense of movement. Be sure to compress the gaps between the zigzagging sections a little more as they get farther away from the viewer though, as shown here.

That fluidity carries over fairly well into your leaves as well. You've done a good job here of capturing not only how they sit in space, but also how they move through the space they occupy. I would definitely have liked to have seen you push into the edge detail on more of these leaves though. A lot of these seem to stop at step 2 of the instructions. For those that went further, you did a decent job of building up edge detail, though I think you do need to be a little more careful to ensure that each bit of edge detail rises off the previous, simpler edge, and returns to it cleanly. This case for example has a number of lines going past the simpler edge, or falling short. You also have some gaps that you should be avoiding. That all simply takes a little more care and patience in executing your lines.

Moving onto your branches, these largely appear to be done decently, although I have just one recommendation - once you've done all you can (in terms of applying the principles of the ghosting method) to get each segment to flow smoothly past the second ellipse and towards the third, draw the next segment so it uses the last chunk of the previous one as a runway. Overlap it directly, instead of drawing where that previous segment ought to have been. This will force you to commit to the mistake made previously (in regards to when they go off the intended track), which will make this a bit harder, but will help you learn more meaningfully from the exercise, and improve more quickly. Also, keep working on maintaining a consistent width to the branch as a whole. You do this in some places, but less so in others (likely because, frankly, it's not an easy exercise).

Moving onto your plant constructions, you're not doing too badly, but I think that as a whole you're just not always investing as much time into each drawing as you could, and aren't really pushing each drawing to completion. I don't mean in terms of detail - rather, that there is often more that can be done in terms of construction, and that you - I assume because you're getting overwhelmed - hit a point where you just draw whatever and move on.

Getting overwhelmed is normal. As you mentioned yourself, this is the first time you're drawing something real and concrete, and so when being faced with these reference images, it can be a bit much to have to deal with all this visual information. A common reaction is to panic and fall into auto-pilot, but instead you need to get used to taking a step back instead and taking stock of the situation.

There are a few things that come to mind when looking at this drawing:

• First and foremost, your petals are drawn pretty sloppily. On the left and right, you drew the flow lines very half-heartedly. Construction is all about taking a complex problem and breaking it down into a series of smaller ones that each build upon one another. When drawing the flow line for a petal, all you should be thinking about is that one petal. Don't distract yourself with anything else. Observe your reference, identify how it needs to flow through space, and focus on capturing that with this single line. The whole process builds up that way - identify the simple problem you need to solve next, and focus on it. Here you've clearly gotten caught up in trying to solve everything at the same time. As a result, you ended up approaching many things haphazardly - skipping out on the leaf construction method altogether when drawing the flower in the middle.

• Secondly, what we're doing here isn't reproducing photographs. Instead, we're picking something that falls roughly into the topic we're studying, and analyzing how it exists in space, and how it can be broken down into simple forms. There's no rule stating that you have to draw everything present in the photo. If you've got many copies of the same kind of object in a single photo, you can opt to focus on a single part. This can be beneficial, because it'll allow you to draw that one part bigger on the page, giving your brain more room to solve the spatial problems, and your arm more room to be fully engaged while drawing your marks.

• Thirdly - now I'm not sure if the reference image you got was the size it is in this album, but if so, you're kind of hamstringing yourself working with something so low resolution. In the homework section for this lesson I mentioned you should be looking for high resolution photos - working from small images is way harder than it needs to be, because it's much more difficult to make out all of the visual information that is present.

For this drawing, I've got just a couple small points:

• As a whole I'm very pleased with how fluidly the leaves themselves are flowing. One thing you should be mindful of however is ensuring that all the forms you construct are fully enclosed. In this case, that means drawing the leaves and their flow lines so they actually come up from inside the soil, where you can close them off before they emerge. From there, you can also mark out where they intersect with the soil itself (establishing contour lines along the surface of forms where they intersect generally helps convey the relationships between them in 3D space.

• For the flower pot, I'm very pleased to see that you worked with separate ellipses to pin down both the thickness of the rim, and the level of the soil. Just be sure to construct any such cylindrical structures around a central minor axis line.

One last thing I wanted to call out is the fact that in this drawing (which otherwise came out really well), you appear to be zigzagging your edge detail back and forth in some areas. This of course breaks the third principle of markmaking from Lesson 1.

So, I've given you a handful of things to work on here, so I'm going to assign some revisions below. Make sure that you're taking your time with each drawing. Again - I don't mean this in regards to texture, but don't just do the basic construction and call it done. Study your reference, identify information that can be captured as further construction, and be patient. Every mark is to be drawn with the ghosting method, every stroke planned and prepared for ahead of time. And working with high resolution references will make a world of difference.