Starting with your arrows, you're generally drawing the initial linework for the arrows fairly confidently (with a bit of wobbling here and there that diminishes it somewhat). Overall the confidence helps to push the sense of fluidity with which the arrows move through the world, so be sure to keep pushing and prioritizing it, and avoiding the temptation to hesitate as you execute your marks. Also, you do get considerably sloppier when it comes to adding hatching at the overlapping points. Every mark we choose to put down demands as much time as we need to execute it to the best of our current ability - don't let yourself fall into the trap of thinking that a small mark here and there is less important, and thus can be rushed through. If it's not important, then it shouldn't be drawn. If it's important enough to be drawn, it deserves care in its execution.

Continuing onto your leaves, in terms of the confidence here it's pretty similar - there's definitely some which helps to push not just the sense of how these leaves sit statically in 3D space, but also how they move through the space they occupy - but this can be pushed further as you continue to emphasize the confidence of your flow line's stroke, and as you keep focusing on the flow line's job to help define the manner in which these leaves move through the world.

When it comes to edge detail, I am definitely seeing some liberties in how you're adding it that we will need to address. Most notably, is the tendency to zigzag several features of edge detail in a single stroke, which we see in various forms across your leaves here.

• Sometimes it occurs as it does here where you are otherwise thinking about adding each bit of edge detail with a separate stroke, but simply get a little overzealous sometimes. That said, with these you're also somewhat rushed and sloppy in how you're drawing those bits of edge detail, resulting in a lot of overshoots and gaps which remind the viewer (and us) that we're looking at a lines on a flat page rather than a three dimensional structure with a clear, cohesive silhouette.

• And in other cases it occurs as it does here where you build up that wavy edge at the end of the leaf without returning back to he existing structure for each bump, with an individual stroke, but rather only connect back to the existing structure infrequently.

Both of these issues result in a weakening of the relationship between the steps of construction. Remember - what we're doing here is not putting down a rough sketch to use as a guide. We are effectively introducing a structure to the world, as though it were a simple leaf shape cut out of a piece of paper, and as we add edge detail to it or build up its structure, we are actively making physical changes to that existing form. If we want to add spikes to its edge, we're physically adding more pieces of paper to it. If we want to create a wobbly edge, we are physically drooping and lifting sections of its perimeter in 3D space. And if we want to cut into its silhouette, then the lines we're drawing represent the paths a pair of scissors would follow to cut it out, as shown here.

To that point, I should note that I'm seeing quite a lot of haphazard linework. Here you get particularly sketchy when drawing the edge detail, which shows that you are not using the ghosting method, and that you are not holding to the principles of markmaking from Lesson 1 - at least, not as consistently as you should, and that you're prone to abandoning those concepts when you lose focus.

Similarly, when you try to tackle texture, you appear to do so purely in an observational manner - looking at your reference and trying to transfer what you see directly, one stroke at a time - which tends to show a focus more on decoration rather than texture. That is, doing what you can to make your drawings more complex and interesting.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

While you should definitely review the entire texture section, I would start with these reminders.

Continuing onto your branches, your work here is coming along well, with just two points to call out:

• Be sure to shift the degree of your ellipses - as discussed back in Lesson 1's ellipses video, as we slide further away from the viewer along the length of a cylindrical form, the degree of its cross-section at that point will appear wider and wider. The fact that the branches' tubes are also turning in space will also impact this, but farther = wider is a good rule of thumb to work from.

• As shown here, try to use the last chunk of the previous edge segment as a runway, overlapping it directly rather than drawing your next segment where the previous one ought to have been. This will make the exercise more challenging, but will also make it more beneficial by forcing you to contend with those mistakes.

Now, as we move onto your plant constructions, I have already touched upon most of the major points (investing more time into your linework, using the ghosting method, avoiding zigzagging of edge details, and the need to review the notes on texture from Lesson 2), so we're left with just a few quick points I want to call out:

• For this daisy drawing, you definitely would have benefitted from making greater use of the space on the page. Glad to see you were more generous with how much space you gave yourself in later constructions, as doing so makes it considerably less difficult to think through spatial problems, and to engage your whole arm while drawing.

• Similarly to the previous point, remember that you do not have to draw everything in a reference image. You choose what it is you want to study and explore, and sometimes there's a lot to be said about focusing on a specific section, so that it can be given the full benefit of all the space on the page.

• I touched on zigzagging before, but I wanted to note that you're doing it a lot more than you did in the leaves exercise on these flower petals.

• It's very important that you draw all of your forms in their entirety. You generally do, but this drawing was a pretty far departure from the kind of spatial reasoning exercises we're doing here. Drawing each form completely, as though we have x-ray vision, allows us to better understand how those forms sit in 3D space, and how they relate to the other forms around them. This is especially beneficial when you have plants that have a lot of repeated elements - for example, here you might have focused just on one section with a few leaves, one or two of the pods/peppers/hanging things, all on a more limited section of branch.

• I'm noticing many places where you're not drawing through your ellipses - remember that as discussed back in Lesson 1, you are required to draw through all of your ellipses two full times throughout this course.

• When constructing your cylindrical flower pots, be sure to do so around a central minor axis line, as this will help you in aligning all of the ellipses you need to flesh out the structure.

Now, I am admittedly on the fence here. I think there are a lot of cases where you're simply not applying principles from previous lessons, or applying the instructions as thoroughly as you should be, and there are many cases in which I would assign a full redo of the lesson on that basis. That said, there are still plenty of areas where you are demonstrating an understanding of the core concepts - you're just sloppy in their application, and not giving yourself as much time as you require.

So, instead I'm going to assign a list of revisions below - though before you get to them, I strongly recommend that you give yourself ample time to absorb everything I've shared with you here. You won't be able to do that in a single read through, and will likely need to read through it multiple times over a span of days, allowing yourself ample time to mull it all over. In addition to this, I'd like you to rewatch this video from Lesson 0 which goes over exactly what the student's responsibility is as they go through this course, to ensure that you are working through the material as intended.