The 25 texture challenge is not a required part of the course, and therefore has no specific point at which it is expected to be completed. The challenges that are mandatory are the box, cylinder, and wheel challenges - each of which are assigned when they come up in the course. In other words, you don't actually have to worry about when things come up - you'll be instructed on what to move onto next when each submission is marked as complete. As to the texture challenge, try to stretch it out across the whole course. No need to focus on getting it done by Lesson 4.

Anyway, jumping in with your arrows, you're off to a good start. You've drawn them with a great deal of confidence, which helps to push the sense of fluidity with which they move through the world. This carries over somewhat into your leaves, where your initial linework helps to establish not only how they sit statically in 3D space, but also how they move through the space they occupy, but as you build on top of that initial structure, your later linework tends to imbue them with a lot more stiffness.

Part of the issue comes down to something I can see throughout your work here - it looks like you're working with two different thicknesses of pen. I say this because your initial linework - the flow line and that basic leaf silhouette - appears dramatically thinner than the lines you add later on as you build up more edge detail. As noted in the instructions, all your drawing throughout this course, unless otherwise instructed, should be done with the standard 0.5mm fineliner (or at least a fineliner within the range of 0.4-0.6mm, although that doesn't mean you can jump between pens within that range in a single drawing).

Setting that aside, I did notice that when you were adding additional edge detail, you tended to be somewhat sloppy in doing so. Edge detail is effectively a matter of taking the existing silhouette of the structure and then adding to it, bit by bit, with each addition altering that silhouette in as seamless a fashion as we can. As you can see here you are quite prone to leaving little gaps, not quite flowing smoothly back into the existing silhouette, and at times zigzagging your edge detail back and forth to create several separate bumps at once (which as explained here should be avoided).

As a whole, while you're headed in the right direction, you need to give yourself much more time for the execution of each individual mark.

Continuing onto your branches, again we can definitely see signs that you're drawing your ellipses with a different pen than the side edges. When it comes to the edges themselves, you're generally handling them pretty well - just be sure to extend them fully halfway to the next ellipse. As demonstrated here, the overlap between the segments is very important for helping us to achieve a smoother, more seamless transition from one segment to the next.

And lastly, the ellipses themselves would benefit from using the ghosting method, so as to give them the benefit of investing your time into the planning and preparation phases, as is necessary for all our structural marks. Also, don't forget that the ellipses in a structure line this would be shifting their degree, getting wider as we move farther away from the viewer. If you're unsure as to why this is, you can review the Lesson 1 ellipses video.

Continuing onto your plant constructions, there are many things you're doing reasonably well, but they are definitely held back by the same issues we've noted already:

• The tendency not to put as much time into each individual mark as you need to. Remember, your single responsibility throughout this course is not to produce perfect work, or even good work - it's to invest as much time as you require to execute each form, each shape, each mark to the absolute best of your current ability. You are falling short of this responsibility, and despite the fact that you have followed many of the principles of construction quite well, how well you demonstrate it is inconsistent from one drawing to the next.

• Maintaining closed silhouettes for your forms is important - avoid any gaps, like those we see here, as they will immediately remind the viewer (and yourself even as you work on the construction) that you're merely drawing lines on a flat page, rather than physically creating solid, three dimensional structures.

• Try to reserve your filled areas of solid black for cast shadows only. I've seen you experimenting with them a few different ways. This is not a problem - experimentation is fine - but for the purposes of what we're doing in this course, try to limit their use to the cast shadows only. In cases like this one where you've filled the opposite side of the leaves with solid black, it's more akin to form shading, which as discussed here should not be included in our drawings for this course. Here on the other hand (and I can see you realized something was off about it as well), you've filled in the empty space with solid black, making our brains assume this to be a cast shadow, but with no actual surface upon which those shadows can be cast. This gives our brains a lot of extra work to understand what we're looking at, whereas leaning into the natural expectation that given our limited use of tools here, each filled area of solid black would be a cast shadow helps to convey our intent much more clearly. Ultimately, every shadow is a shape which is designed to convey the relationship between the form casting it, and the surface receiving it. Whether we're dealing with larger constructed forms or smaller textural forms, it's always the same. And thus, we have to make sure that we have an opportunity to actually design that shape, in order to take control of how that relationship is being defined. There will be places where you'll feel tempted to fill in an existing shape (like you did on that example that was similar to form shading) - always remember though, that since you do not have control of the shape of the given shadow, that it likely isn't a cast shadow that you're drawing. There are certainly cases where it could be - like in the potato plant demo where we fill a central area between the leaves with black, since the dirt below would be so densely covered so as to be completely engulfed in shadow - but any situation where you're filling in an existing shape, rather than designing a new one, should receive further consideration.

• When constructing cylindrical structures, like flower pots, be sure to build them up around the central minor axis line. This will help you to align the various ellipses you need to draw. And, again - take more care with your ellipses. Use the ghosting method and engage your whole arm from the shoulder, so as to gain more control without sacrificing accuracy.

• Keep an eye on how you employ the branch technique. It's all about ensuring that the edges overlap in order to transition more seamlessly from one to the next. Cases like this one are applied incorrectly, resulting in no overlap, and instead a sharper jump from one segment to the next (and in this case, a gap that further undermines the solidity of that structure).

In the interest of giving you an opportunity to demonstrate to yourself the fact that you can in fact do better than this, I'll be assigning some revisions below. This time, please work with the same pen throughout, and do not try to make your earlier construction marks fainter. Everything should be drawn with the same kind of confidence, accepting that each mark contributes to the final construction, or in our understanding of how it sits in 3D space.