Overall you've done a pretty good job, though towards the end there are definitely signs that you're forgetting some of the things covered in Lesson 2's texture section - but we'll address that a little further into this critique.

Starting with your arrows, these flow very confidently through space. Don't forget about the fact that perspective ought to be applied consistently to both the positive and negative space of your arrows - that means that the rate at which the width of your ribbon compresses as it moves farther away from the viewer should be the same as the rate at which the gaps between your zigzags get smaller. Perspective is about all space getting compressed as we look farther away - not just physical objects.

You continue to demonstrate this confident fluidity to your leaves as well, so you've got them flowing through space quite nicely. I'm also pleased with how you're generally doing a good job of adhering to the previous phase of construction's edges when adding additional edge detail. While this is coming along well, I just have a couple quick things to point out:

• Looking at the bottom left leaf on this page you do in a few places start to zigzag your edge detail back and forth over the previous simpler edge, so watch out for that.

• Looking at the leaf right above it, you definitely do want to put a little more effort into getting the more "complex" bumps that rose off the simpler edge and return to it to blend more seamlessly into that simpler edge. Right now we can really clearly tell where those details are being added. It almost looks as though you're drawing with a different pen, or perhaps applying more pressure.

Moving onto your branches, overall these are well done, with a few things to keep an eye on:

• Your control over your ellipses is pretty loose and sloppy. Remember that you should be applying the ghosting method to your lines here in order to reinforce them with greater control in terms of where you're placing.

• Also, don't forget that you should be drawing through each and every ellipse you draw for these lessons without exception. That means drawing around the elliptical shape two full times before lifting your pen.

• When starting your next segment, try to overlap the last chunk of the previous segment more directly - instead of drawing where you feel that line ought to have been, use it like a runway that you follow directly before shooting off towards your next target.

• It does seem like sometimes when you've got shorter segments to draw, you revert to drawing them from your wrist, which messes with your control.

• Ghosting method ghosting method ghosting method. Keep working on applying it consistently.

Going through your plant constructions, you're largely following and applying the principles covered in the lesson quite well. You're breaking your objects down into their core components, are focusing on how your leaves and petals flow through space, etc. My biggest concern with your work just comes down to your linework - most of the lines you put down don't have the kind of control that suggest proper use of the ghosting method for each and every mark you put down. It's not that your linework is bad, it's just not as good as it could be. Your linework appears far more instinctual and reflexive, rather than planned out. As a result, you end up with little mistakes like the contour lines in the base of the top left drawing flying way off the surface of the form.

To put it simply, you need to be putting more time and patience into your drawings, and into each and every mark you draw. They should still be executed confidently, and I'm very pleased to see that you show no hesitation in your linework, but there's more that goes into mark-making than the execution of a stroke.

The other thing I wanted to address (which I alluded to at the beginning) was that when you start getting into more detail, you appear to confuse form shading and cast shadows in a number of places. As explained here, we use any form shading in the drawings for this course. That also applies to any kind of hatching in your constructional drawings, as this is usually used when a student wants to get into form shading, because it allows them to transition more smoothly from light to dark. If we ever end up in situations where we want to do that, we'd do so using the techniques covered in the texture analysis exercise - finding a pattern of black/white shapes to use in place of hatching.

The difference is that form shading goes on the form in question - as that form's surfaces turns towards the light source it gets lighter, as it turns away it gets darker. Cast shadows are entirely different - they exist on surfaces other than the form that cast them, and they tend to be more stark black in nature (rather than a range of greys). You do tend to use less and less form shading throughout your last few drawings, and tend more towards solid black areas instead of hatching, but you still incorporate form shading and hatching in smaller areas throughout your drawings, so be sure to avoid it in the future.

All in all, I am going to mark this lesson as complete. I'm glad you're demonstrating an understanding of the concepts covered in this lesson, but I do feel that you really need to work on the application of the principles covered in Lesson 1. If the linework continues to be more haphazard and less planned out when you tackle Lesson 4, you can expect more redos.

Having looked through your sketchbook (and seeing the date on your imgur album), I can see that you're submitting work you've already completed. This largely defeats the purpose of receiving feedback, as it means you're not actually using the next lesson to demonstrate an understanding of the previous critique you received.

As such, I do expect you to do your Lesson 4 work from scratch - not to simply submit what you've already completed.

To that end, I have something additional for you to keep in mind when doing your Lesson 4 work. Right now you have a tendency of sketching your forms roughly underneath, and then going back over them with a darker line for a "clean up pass". This is something I actually addressed back in Lesson 2 (specifically in the form intersections exercise) as something you should not be doing. There are a number of reasons for this:

• It encourages students to trace over their lines. Tracing is more about following a line as it runs across the 2D page, not how it flows through 3D space. It also tends to make linework a little more stiff and hesitant, since it does not appropriately apply the ghosting method to achieve a confident, flowing execution.

• It encourages students to be sloppier with their underlying construction (as I've pointed out throughout the critique for this lesson). Every single mark you draw is a part of the final drawing, in that each one establishes a solid, three dimensional form within the world. You are not to treat any form you've drawn previously as something to be ignored later on.

While there is nothing wrong with applying this approach outside of Drawabox, it does contradict the core of these lessons. That is, the idea that each drawing is an exercise in spatial reasoning, in understanding how to construct and manipulate solid forms, combining them into creating something more complex. The end result is not what matters - it is the process that develops our grasp of 3D forms.