Hey - I can't complain if you're doing some 50% rule drawing. Let's see what my ruling shall be...

Before I get into the critique, I should mention that generally speaking a tabletop easel is not really a good choice for the kind of work we do in this course. Tabletop drafting desks are more suitable (they're basically larger, angled surfaces that will similarly help you avoid hunching over, but without limiting your ability to rotate the page). Alternatively, you could also use a large drawing board (which is usually fairly cheap) and prop up the far end with some books. Either way, make sure that whatever additional choices you make for how you approach this work do not interfere with any of the course's own instructions (like rotating the page).

So, jumping in with the arrows, you're off to a good start. You've drawn these with a great deal of confidence, which helps to push the sense of fluidity with which they move through the world. One quick point however - when it comes to the hatching you're applying to them, try to avoid having it stop at arbitrary points. Instead, stretch it all the way across the ribbon from edge to edge. You can read more about this in these notes from Lesson 2.

That confidence and fluidity carries over quite nicely into your leaves, where you're doing a great job of not only establishing how they sit statically in the 3D world, but also how they move through the space they occupy. You're also doing a pretty good job of tackling the more complex edge detail, although I do have a couple points to raise in regards to that:

• Try to avoid redrawing the whole leaf - construction is about adding the parts that change, and you should not be drawing over parts that do not need to be altered. One thing that can contribute to this issue is when students start their construction out lighter and thinner, then gradually increase their line thickness as they build upon it. Try to keep that line thickness about the same throughout - for your more complex constructions, you can do a separate lineweight pass to help clarify how different forms overlap one another, specifically by focusing the line weight in the localized areas where those overlaps occur (as shown here with these two overlapping leaves).

• The above tendency to redraw more than you need to can also lead to some cases of zigzagging edge detail, which itself results in a weaker relationship between the different phases of construction. We can see some small, subtle signs of this in your work in cases like this from this leaf.

Aside from that, you're doing quite well, and I'm pleased to see that you're exploring some more complex leaf structures as well.

Continuing onto your branches, your work here is by and large looking quite good. You're doing a good job of laying out your ellipses and shifting their degree to correspond with how the branch turns through space. You're also keeping the width of the branches fairly consistent, avoiding unnecessary pinching or widening, which helps maintain the solidity of the structure through its inherent simplicity. Just a couple things to keep in mind:

• Make sure you're drawing through all of your ellipses two full times before lifting your pen, as discussed back in Lesson 1

• Make sure each edge segment is extended fully halfway to the next ellipse, as demonstrated here.

And finally, moving onto your plant constructions, as a whole these are really well done. You're mindful of building up your constructions one step at a time, starting simple and working your way up to complex, and throughout these constructions you're demonstrating a fair bit of care, patience, and careful observation. I do have a couple points to call out, but they are by and large fairly minor:

• This part varies, but there are some pages where your drawings are smaller than they perhaps ought to be. It's usually cases where you're drawing two plants to a page, which itself is by no means an issue, but in cases like your potato plant it can result in a given drawing receiving less space than it strictly requires. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it. You have other pages - for example, this one where you're considerably more generous with how much space the flower is given, and it certainly pays off.

• I did mention this already before, but watch out for cases where you zigzag your edge detail. While the cases in your leaves exercise were very minor, there are more significant cases in some of your flowers, such as here.

All in all, your work is coming along very well. So, I'll go ahead and mark this one as complete.