Starting with your arrows, you're generally handling these well, executing them with quite a bit of confidence, which in turn helps to sell a stronger sense of fluidity in how they move through space. That said, there are definitely noticeable places where your lines get wobbly, so you'll want to keep an eye on that. Always make sure you're executing your marks with confidence, from the shoulder, and using the ghosting method so as to avoid that.

That sense of fluidity carries over quite nicely into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through it, although your linework here is not as strong as it could be. It's very clearly not a matter of skill, but rather one of patience - I don't think you're giving yourself nearly enough time to properly plan and prepare, not fully leveraging the ghosting method before the execution of each mark as you're meant to. As a result, there's a lot of sloppiness - lines overshooting past the edge from the previous stage of construction (as we see here), and generally appearing more as a scattered collection of individual lines rather than a cohesive 3D structure.

It all comes down to giving yourself more time, in order to fulfill your single responsibility as a student - to do the work to the best of your current ability. That can only be done if you allow the work itself to dictate how much time is it is to take, rather than doing it based on your own expectations or circumstances. You may have a certain amount of time in a given sitting, but nothing says that you need to complete a page, or an exercise, or a construction within that sitting - you are fully allowed to spread them across multiple sittings in order to give yourself the time you need to construct each form, to draw each shape, and to execute each mark to the best of your ability, using the techniques and leveraging the concepts you've learned in this course thus far.

Continuing onto your branches, it's much the same. Here you follow the instructions quite loosely - you are achieving overlaps between your edge segments, but you're not necessarily drawing each segment such that it, as shown in the instructions, extends from one ellipse, past the second, and halfway to the third (with the next segment then starting at the second ellipse and repeating this process). There are many edges that start further along, or end too soon, and as a result of you appearing to draw these very quickly (likely without much planning - at least based on what I'm seeing), you have a ton of marks that don't overlap at all, but rather have significant gaps between them.

Keep in mind - what we're doing in this course is not quick sketching. It's slow, belaboured, and purposeful drawing. We think before each and every stroke, and we consider what the purpose of that stroke is, what its goal is, and how that can be achieved to the best of our current ability.

While there is a lot to like about your plant construction drawings - many of them are quite pretty, and I especially like the pineapple - they do suffer from the same general sense of rushing. For what they are, they really are quite good (in terms of looking very nice), but while you are certainly employing constructional principles (like using the flow lines for your petals, drawing through your forms, etc). The biggest issue is, above all, that like the exercises I've addressed above, you are not always taking as much time as you could.

That said, you are taking more time than you did with those previous exercises, and that makes the difference. That is, the difference between me asking for revisions, rather than me asking for a full redo. That said, I do have a few points to raise:

• Just for the sake of hammering this point home - take more care with adding edge detail. Every step of construction establishes a solid structure, and every subsequent step modifies it by either extending it out or cutting into it - but these changes need to flow seamlessy from or into that previous structure in order to maintain tight, specific relationships with it.

• Do not look to the constructional steps as being opportunities to redraw the entire structure, and also avoid increasing the thickness of those later steps. Keep them to roughly the same thickness. You can always come in towards the end with a pass adding line weight, but focus that line weight on clarifying how different forms overlap one another, limiting it to the localized areas where those overlaps occur, as shown here.

• Avoid zigzagging your edge detail back and forth. Each 'bump' should be its own separate mark, rising off the existing structure and returning to it. We can see a fair bit of zigzagging across your work, but here's an example.

• As mentioned here back in Lesson 2, form shading does not play a role in this course. When drawing any filled areas of solid black, be sure to use them only for cast shadows - that is, where a given form casts a shadow onto another surface. Avoid form shading, which is where the orientation of the surface dictates whether it's going to be light or dark.

• Some reference images will inevitably be simpler, while others will be more complex. Allow the subject to dictate how much time it takes. For example, in this nettle you definitely gave each piece of edge detail way less time, and you likely did so because you were facing drawing a ton of those little spikes. But, ultimately which references you work from are your choice - so when you commit to a choice (and choose which part of a given reference you want to focus on, as you can always decide to draw a specific section of it), you then must abide by that choice and give it as much time as it requires.

Lastly, I wanted to reassert an important point about the drawings we do in this course. Every constructional drawing is an exercise. They're 3D spatial puzzles, and in solving each one - by building up in 3D space, bit by bit, always moving in the direction of the reference image (but not strictly attempting to reproduce it perfectly, as each step we take has the chance of locking us into a direction that may deviate from it), we are effectively forcing our brain to contend with thinking through the relationships between the different elements of the construction, as they exist in 3D space. This is what helps to develop our brain's spatial reasoning skill, and that is the goal of this course.

You'll find your revisions assigned below.