Overall there are definitely some issues to how you're approaching certain parts of the work here, but as a whole there are a lot of underpinnings that are fairly solid. Making a few points clear should help, most notably by ensuring that you're focusing in the right areas. Right now your priorities are at times a bit mixed up, causing you to put more effort in the wrong areas.

Starting with your arrows, the underlying linework - that is, the original marks you put down for each arrow, flows confidently and smoothly through space. You do however tend to bury that under attempts at line weight that are added carefully and hesitantly, causing those marks to wobble quite a bit. Line weight should always be added using the same methodology as your original strokes - using the ghosting method, drawn from the shoulder, and executed with confidence. Furthermore, it should be focused on key areas to clarify specific overlaps - not to the entire length of a given line. I can see some places where you've applied it in specific areas, and others where you've been more liberal in its application.

When it comes to the hesitant, overly careful approach, you've prioritized the accuracy of your stroke over its flow, and as discussed back in lesson 1, the order of those priorities is incorrect. Flow always comes first. Accuracy will improve with practice, and that means that your marks will be off here and there, and that is something you simply need to accept for now.

Moving onto your leaves, you've done a good job of capturing the fluidity of those initial leaf shapes, pinning down not only how they sit in space, but also how they move through the space they occupy. When adding more complex edge detail however, you ended up zigzagging your edge detail as explained here, effectively attempting to replace those simpler edges instead of building on top of them.

Construction is all about taking a complex problem and breaking it down into stages, where each step solves one smaller problem at a time. For example, the flow line establishes how the leaf moves through space, and how long it will be. Then the next step establishes a simple footprint of that leaf, as a flat shape, following that flow line. By zigzagging the edge detail back and forth, and effectively redrawing the entire edge as you've done, you're attempting to solve the problem of the second stage once again, while also solving the more complex details. Instead, we want to merely add the parts that change, one at a time, drawing lines that come off that simpler edge and return to it. As shown here on another student's work, we can also introduce more steps to break a complex problem down into more steps, as needed.

I cannot emphasize this enough - construction is not about creating a loose sketch to follow, with each stage being its own drawing. There is no "final pass" that comprises the whole drawing. There is merely a sum of many, many parts.

Moving onto your branches, you're kind of inconsistent here in a few ways:

• Firstly, you're drawing through some of your ellipses but not all of them. As discussed back in lesson 1, you should be drawing around the elliptical shape two full times before lifting your pen. That of course should be after applying the ghosting method, and the execution should be confident, from your shoulder.

• You're a bit all over the place when it comes to how you draw your line segments. In the instructions, you're told to extend them from one ellipse, past the second, and halfway to the third. Then the next one starts at the second, past the third, and halfway to the fourth. This is meant to result in a healthy overlap between the segments, allowing for a smoother and more seamless transition between them. Here's the diagram included in the instructions. Now you do this in some cases, but in others you have the segments stop/start at each ellipse, resulting in a jerkier transition.

It's not uncommon for students to get frustrated or overwhelmed with the difficulty of a task, or with the difficulty they're encountering in completing a task. But in that frustration, it can become easy to just barrel forward without thinking as much as we should, and either without reading the instructions as carefully, or simply forgetting their specifics and not rereading. When you get frustrated, it's always better to take a step back, to take stock of the situation, refamiliarize yourself with the resources that are available to you, and take a break.

Moving onto your plant constructions, I can definitely see pieces falling into place, in regards to your overall understanding of how to approach these drawings. You certainly have some weaker ones, although as you move through the set your understanding of how to approach those core forms gets stronger. Your linework definitely does show a good deal of hesitation though - you're falling into the worry over accuracy, and it's causing your marks to stiffen and wobble.

The ghosting method is all about separating the process of markmaking into distinct stages - like a production line - where every step has its own responsibilities, as though they were entirely different people. The you that deals with planning is only considering the nature of the mark that needs to be made, what it is meant to contribute to the drawing, how it can be approached to be executed as effectively as possible, how the page needs to be rotated to find a comfortable angle of approach, etc. Once that's done, it's passed onto the you that deals with preparation. That one's gotten its marching orders, and just needs to go through that drawing motion, getting comfortable with it and building up appropriate muscle memory and familiarity.

Finally, it's passed onto the last - the you that is responsible for execution. That one is unconcerned with accuracy, the nature of the mark, and so on. All it cares about is executing a smooth, confident stroke, free from hesitation, and executed from your shoulder, engaging your whole arm. If it draws such a line, but makes a mistake in regards to accuracy, that's not its problem. Mistakes ultimately happen, but we have to accept that the second our pen touches the page, any opportunity to avoid such things has passed.

The bit I raised about line weight applies here as well - you defintely have a habit of trying to reinforce the entirety of your drawing, and that's one you need to break. Use line weight only to calrify specific overlaps, in key localized areas. Execute those marks with confidence (as always), as this will help you produce marks that are tapered at the ends, which in turn will help them blend in with the existing linework.

This critique's definitely getting pretty length, so I'll just touch briefly on texture/details. Overall you're not doing too badly here, but there is a tendency to rely on a sort of controlled randomness. You're not scribbling, but you aren't necessarily putting down specific cast shadow shapes. Instead of drawing the little details with lines, try to make a point of analyzing your reference image and identifying the textural forms there, so you can think about the nature of the shadows they might cast on their surroundings. Draw all of your textural marks employing this two step process, effectively outlining shapes first, then filling them in, in order to avoid the temptation to just put down errant marks at a whim.

Also, keep in mind that texture/detail isn't about decorating drawings and making them look nice. I don't necessarily think this is what you're trying to do, as you're not going too heavy on detail, but it is a mindset many students have that leads them to have the wrong priorities, so I'll share that tip with you as well.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

So, I've shared a good deal with you here. I'm going to assign some additional pages below, to give you the opportunity to apply these points.