Hello Megatherium2, thank you for getting back to me with your revisions.

Your leaves are looking fantastic, they're incredibly energetic and well constructed and the edge detail adds an entire new dimension to these structures. Your branches are also looking very well made.

Moving on to your plant constructions they're looking good, although for your use of texture in this exercise you're approaching your texture very explicitly.

If we revisit how texture in Drawabox is approached, we can refresh our memory and see that texture through the lens of Drawabox is not used to make our work aesthetic or pretty, instead every textural form we draw is based on what's physically present in our reference. Our focus should be on understanding how each individual form sits in 3D space and how that form then creates a shadow that is cast onto that same surface, after analyzing all of the information present in our reference we'll be able to translate it to our study. This is why the shape of our shadow is important as it's the shape that defines the relationships between the form casting it and the surface it's being cast on, this is why we should consider carefully how to design a shadow shape that feels dynamic as shown here.

This approach is of course much harder than basing our understanding of texture on other methods that may seem more intuitive or basing it on the idea that texture = making our work look good, but in the long run this method of applying texture is the one that enforces the ideals of spatial reasoning taught in this course. By following these ideals, you'll find yourself asking how to convey texture in the most efficient way possible, with less lines and ink, focusing on the implicit mark-making techniques introduced in Lesson 2. Going forward here are a couple of final reminders of how texture in Drawabox is approached.

Another thing to keep in mind for this construction is that you attempt to add extra volumes to your branch structure in a way similar to edge detail as shown in the leaves exercise, because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which 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 won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form. Instead of trying to add volume in a way similar to edge detail, for forms that aren't flat we should make use of organics.

Overall, your work looks good and you're moving in the right direction, as such I'm going to be marking this lesson as complete. Good luck in lesson 4.