Looking over your work, it's clear that you've got a good basis to work from and strong observational skills. The issue here is that you've relied more on what you already know, rather than what is covered in the lesson, and as such you ended up skipping quite a few important instructions. This course isn't a general primer on how to draw - we're specifically exploring how to think in 3D space, focusing on developing our spatial reasoning skills. In order to do this, we're employing constructional drawing as an exercise, breaking down complex objects into simpler levels of scaffolding, building up to that level of complexity one stage at a time. The goal is not to achieve a pretty drawing, but the process itself.

Starting with your arrow,s these are for the most part quite well done, with just two concerns:

• Be sure to compress the gaps between your zigzagging sections as we look farther back in space, as shown here. This will help capture a greater sense of depth in the scene.

• As discussed in previous lessons, line weight shouldn't be added to the full length of whole edges, and should instead be focused on specific, localized areas to help clarify how forms overlap one another. We can achieve this by purposely drawing the line weight with confidence, using the ghosting method, resulting in a more natural taper as shown here, which helps to have the strokes blend into the original lines. In your arrows, you've attempted to cover long stretches with line weight, and in order to do so you drew more hesitantly, resulting in wobbly lines that stiffened what were otherwise smooth, confidently drawn strokes.

Moving onto your leaves, there's definitely a fair bit of good here - the basic construction of your leaves have been drawn with confidence and fluidity,so as to capture how they move through space, although there is definitely a huge focus on achieving pretty drawings, to the expensive of elements of the exercise.

For example, you opted not to draw each leaf form in its entirety, instead cutting one off where it would be overlapped by another. Throughout this course, you will run into plenty of situations, especially when drawing actual objects, where things will overlap one another. In such cases, you should draw each and every form in its entirety, so as to fully understand how it sits in space, and thus how it relates to the forms around it. By cutting forms off as you've done here, we end up focusing more on how these things exist as lines on a page, instead of building up the illusion for ourselves that these things are three dimensional objects existing in a world that lies beyond the page itself.

Aside from the leaf in the top left corner, which I'll address in a moment, you're doing a pretty good job of building up more complex edge detail, but you do some times have a tendency to zigzag your edges back and forth more loosely around the previous phase of construction, trying to redraw the edge at each step, rather than building upon what was there previously. In the lesson, I mention that you shouldn't be zigzagging edge details. I also demonstrate this here on another student's work. Think of each phase of construction like scaffolding. You won't always have enough scaffolding to support the complexity you're after, so you may need to build out another level before you can get there. Every stage, however, must adhere to the scaffolding before it in order to maintain an illusion of solidity.

Now, with the leaf on the top left, that is definitely a case where a more complex strategy would have been more suitable. I talk about this in these notes, but I also have a more specific example of a leaf like this in the informal demos page.

The last thing I wanted to say about the leaves is that your use of texture here, while it has some strong points (like the way the ridges in the top-right leaf taper out somewhat), appears to ignore a lot of the concepts covered back in Lesson 2. Specifically the idea that texture is made up of cast shadow shapes that are the result of specific textural forms casting shadows on their surrounding surfaces. This means that you should not be relying on randomness and scribbling, and instead thinking about what actual forms are present.

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.

Don't think of texture as an excuse to just decorate things and make them look nice. Focus on specific goals, on the idea that you're just conveying information.

Moving onto your branches, you've largely done this exercise correctly, although there are some spots where you're not extending your segments fully halfway to the next ellipse, as explained here. Additionally, when drawing the next segment, use the last chunk of the previous one as a runway, overlapping it directly, instead of drawing where the previous one ought to have been. This will force you to deal with the mistake, and will help you learn from it more quickly.

Now, looking through your plant constructions, there's definitely a lot of situations where you've focused more on decoration and making pretty pictures. You certainly did succeed at that, your drawings are lovely - but there are definitely cases where you've skipped constructional steps in leaves, or forgot about key instructions from Lesson 2 (like the fact that we do not employ any form shading whatsoever in this course).

Honestly though, you're not that far off. So I'm just going to ask for a few additional pages before sending you on your way.