Starting with your arrows, you've got these flowing very well through space initially, although I can see cases where you're trying to go back over long stretches of lines, and end up hesitating quite a bit more as you do so. If you're adding line weight there, there are two things to keep in mind:

• Line weight should only applied to specific localized areas to clarify particular overlaps between forms, like where the ribbon folds back over itself, rather than to entire lengths of line.

• Line weight should be applied using the ghosting method, with a confident execution just like the original stroke. Doesn't matter if this causes you to be inaccurate - accuracy can be practiced, but a smooth stroke is a matter of approach.

Also, I noticed that you still tend to maintain a fairly consistent spacing between the zigzagging sections of your arrows. As explained here, you should be compressing those distances as we look farther back, allowing the sections of the arrow to overlap.

Moving onto your leaves, I'm definitely seeing the same kind of confident flow with the initial leaf shapes, which is good, as you're capturing not only how the individual leaves sit in space, but also how they move through the space they occupy. That said. I think you definitely get kind of sidetracked here with far too heavy a focus on detail and texture. The focus of this exercise, this lesson, and this course in its entirety is primarily on building up a sense of solidity and structure. Detail and texture is a far second to that, and can often become distracting.

It's also worth pointing out that when you got into texture, you appeared to rely very heavily on line. Remember that back in lesson 2 we talked about the importance of approaching texture using implicit drawing techniques rather than explicit ones (using shadow shapes rather than lines and outlines). This is something you may have forgotten. One thing that can help with this is to make a point of drawing every single textural mark with this two-step process, basically outlining our shadow shapes then filling them in. This helps us to think about how every textural mark represents the shadow being cast by some small textural form on our object's surface. This means having to be aware of the forms themselves, rather than just drawing marks based on what you see.

Looking at how you're approaching the more complex edge detail, you appear to be doing this correctly in some cases, but in others I do see signs that you're zigzagging the same stroke back and forth, at least for a while (here for example). Be sure to draw every individual bump separately, as you do in other places - though also take more care in ensuring that you don't shoot past the edge. Build those lines right off the existing edge, and return to it. If it means investing an extra moment to ensure that each stroke is controlled and precise, then that's what you should do.

Moving onto your branches exercise, I don't think you read the instructions as carefully as you should have, as there are issues present regarding how your edge segments transition from one to the next. As explained here, you are to draw a line from one ellipse, past the second, and halfway to the third. Then draw the next segment from the second ellipse, past the third and halfway to the fourth. This results in a healthy overlap between the segments, which helps us transition more smoothly and seamlessly from one to the next. You instead appear to have cases where you're either not extending your segments fully halfway to the next, or starting the next segment where the previous one ended.

Alrighty, now let's move onto the plant constructions. Here it's clear to me that you are picking up on some major components of the lesson and are applying them well, but like the first half of the critique, the issue isn't really that you're unskilled. There are two core issues:

• You're impatient - you're rushing into your drawings just a little bit too quickly, and in some cases that leads to you putting down marks without really thinking about how they're meant to contribute to the overall construction. I'll address this in more detail in a second.

• You are in a lot of areas very focused on creating a pretty picture. Drawabox is not about creating nice pictures and showing them off. Each and every drawing is an exercise, and it is the process that will help you develop your spatial reasoning skills, among other things. Therefore, circling back to the first point - the more time you put into each mark, into planning and preparing, into thinking about how that mark is meant to contribute to the overall construction, the more you'll learn from it.

The first thing I want to comment on is actually a good thing - the flower pot for the plant in the middle of this page is actually very well done. It would have been best to construct it around a shared central minor axis line, but I'm very pleased to see that you built it up with several ellipses, and even defined the thickness of the rim with an inset ellipse at its mouth. The flower pot on the bottom right's pretty good too, though the base ellipse should definitely have been wider - the far end of a cylinder is always going to have a wider degree than the end closer to the viewer.

Now, let's look at the plants on this page in turn:

• For the bottom right plant, I'm noticing that you're jumping into more complex edges right off the bat, building up wavy edges without establishing the basic footprint for each leaf. You're skipping step 2.

• For the other two plants, which appear to be the same sort of thing, I'm unsure of what exactly you're trying to achieve here. There are these faint ellipses along the length of your leaves , which suggests that perhaps you were trying to draw some kind of a thicker, more voluminous form - these ellipses were drawn very faintly though, as though you wanted to separate them from your drawing. Don't do this. Every mark you put down is something you're committing to. You have to first determine that the given mark is going to contribute in some specific, valuable way to your construction, and then you draw it with confidence, not trying to go out of your way to hide it. That goes for contour lines as much as anything else. Looking at the flatter, more 'chevron' type contour lines you ended up going with, these were okay, although it does look like you could have invested more time into executing each one. Also, keep in mind that contour lines suffer from diminishing returns - there is such thing as 'too much of a good thing', where the first contour line may help a great deal, but the second will help less, and the third even less. So don't pile them on unless you have reason to.

Constructional drawing at its core is a process of making decisions. Big decisions first, and then working your way down to smaller decisions. Once a decision is made, you don't change your mind later on - you abide by the choice that was made, even if it results in you deviating from your reference image.

Let's take a look at this page. There are small issues here (for example, the soil/pebble texture being rushed and drawn with only outlines in the pot), but for the most part it's reasonably well done. There are four glaring issues however - you started off with these big ellipses over each leaf cluster. As every single mark introduces some solid form or entity to our construction, those ellipses introduced... something. At their simplest, the illusion of flat discs floating in the world. And then you went on to construct your plants overtop of them, ignoring their presence.

Now I'm sure your intent there was to just rough in where they'd go, and you may have thought to employ a similar principle as what was shown in the hibiscus demo. But when we apply constructional drawing as an exercise, there is no room for rough or vague relationships between the things we draw. Every entity is a concrete decision being made, and just like we see in the leaf construction method, everything hinges on its neighbour. So in the hibiscus demo when I put down that initial ellipse, every single flow line reached to its perimeter, and every petal in turn stopped at the end of the given flow line. They all had strict, specific relationships to one another.

Now, this critique has gotten really long, so I'm not going to push it farther. Overall you are absolutely capable of completing this lesson quite well, and I can see the signs of it in your work already. You are simply allowing yourself to become distracted, focusing on that which may be more important to you, rather than following the lesson and exercises as instructed.

So, I'm going to assign some revisions below.