Hello motheronion, thank you for getting back to me with your revisions.

Your leaves are looking good but remember not to skip construction steps when approaching more complex leaf structures.

This structure is looser than it could be because you did not put down a boundary, you didn't establish the form that all of the later structures will abide to, despite complex structures being made up of several different parts, they still exist as a single entity, by not skipping construction steps you can ensure that your constructions are much more solid and specific.

Moving on to your addition of texture it needs work, as it generally leans a bit too heavily towards the side of explicit texture because you are often outlining texture and using too many big areas of black. There's much more going on than just a few stray marks implying veins and we can do much more to accurately communicate this type of texture, take a look at this informal demo on how to approach leaf texture, and make sure to give these reminders on how texture works in Drawabox a read.

Your branches are coming along really decently made as you're following the instructions for the exercise.

Moving on to your plant constructions they are looking much better, you're generally making use of the construction methods and techniques introduced in this Lesson which helps you create the illusion of tridimensionality in your work, you're not only trying to capture what these structures look like, but you also focusing on how they work, how they exist fully in tridimensional space by drawing through your forms and thinking about the way each piece of your construction exists in relation to one another.

But there are still things that can be improved in your work.

When going through the lesson material make sure to also go through the informal demos section in the lesson as it often provides extra information and sometimes the most up to date information. In this construction the way you've approached the branch structures has flattened them, their size is too inconsistent, instead when creating forked branches and knots you must approach them in this manner which will allow you to create a structure that's more solid and more specific.

You're always not making use of edge detail in your pages, by not adding it they're left very simple and you miss out on a great tool to help you further communicate the way your structures exist and move through space. Make use of edge detail whenever possible, and remember that only the last step of leaf construction - texture - is optional.

Ease up on your lineweight, it's thick, with several passes going over the same marks and jump from one form's silhouette to another, which smooths everything out too much. Almost as if you pulled a sock over a vase, it softens the distinctions between the forms and flattens the structures out somewhat.

Instead lineweight must be subtle, used only to clarify the overlaps between the forms that are being built up, as explained here.

And lastly let's take a look at your addition of texture to these structures, which needs some work as it's looking very explicit as you add too many big areas of black, they're not designed with a specific purpose in mind and so there are no focal points of detail in your constructions which leaves no places for your viewer to focus on or any areas of rest, there's no contrast and so everything competes to keep the viewer's attention.

So let's revisit how texture in Drawabox is approached, by looking back on this page we can refresh our memory on texture through the lens of Drawabox and see that it is not used to make our work aesthetic or good looking, instead every textural form we draw is based on what's physically present in our reference.

Our focus should be on understanding how each individual form sits in 3D space and how that form then creates a shadow that is cast onto that same surface. Only after analyzing all of this information present in our reference will we be able to translate it to our construction. This means that the shape of our shadow is important as it's the shape that defines the relationships between the form casting it and the surface it's being cast on, which is why we need to consider carefully how to design a shadow shape that feels dynamic and communicates this tridimensional information.

This approach is of course much harder than basing our understanding of texture on other methods that may seem more intuitive or basing it on the idea that texture = making our work look good, but in the long run this method of applying texture is the one that enforces the ideals of spatial reasoning taught in this course. By following these ideals, you'll find yourself asking how to convey texture in the most efficient way possible, with less lines and ink, focusing on the implicit mark-making techniques introduced in Lesson 2. Make sure to go over these reminders in order to solidify your understanding of texture further.

In general you are doing much better and I believe that you are ready for the construction challenges present in the next lesson even if your work still has some issues to be addressed, as such I'm going to be marking this submission as complete, good luck in Lesson 4.