Well, these photographs certainly aren't your best - a lot of them are at least somewhat blurry, but I'll do my best to critique them. In the future please retake any photos that aren't clear and crisp.

Starting with your arrows, these are drawn quite well and capture a strong sense of flow and fluidity. One thing you are forgetting however - which I actually raised in my critique of your lesson 2 work - is that the gaps between your zigzagging sections are subject to perspective, and therefore should be getting narrower and tighter as we look farther back in space, as shown here.

Continuing onto your leaves, based on what I can see, you're doing a good job of applying that same sense of fluidity and motion to your leaves, capturing how they not only sit in space but also how they move through the space they occupy from moment to moment. Admittedly, while most of the page is a bit too blurry to properly assess this, I can see a couple spots that are a bit clearer that show you're also adhering to the use of the constructional method, building more complex edge detail directly on top of the previous phase's edges rather than trying to redraw them or treat them more like a loose suggestion.

For your branches, you appear to be approaching the steps correctly - that is, extending your segments fully halfway to the next ellipse. I do however recommend that when your previous segments veers off a little from the intended target (resulting in those little 'tails') that you draw the next segment using the last as a runway, overlapping it directly instead of drawing it where the last one ought to have been. This will force you to take into account that tendency to curve your lines off track a little, which in turn will make things more immediately difficult but will help you learn from those mistakes more directly.

Since the image is blurry, some of the ellipses do look like you haven't been drawing through them correctly, but that may well just be the blur. I can see you drawing through other ellipses, but I figured I'd just call this out just in case.

Continuing onto your plant constructions, there are a number of issues I need to address:

• First and foremost, you appear to have throw away a lot of the core concepts covered in the previous lessons in regard to your line quality. As we can see on this lavender flower, you've basically stopped applying the ghosting method, and any real sort of self-control when it comes to drawing your lines, and have fallen back to bad habits of sketching more loosely and roughly on the page. This is absolutely not correct. Throughout the leaves and branches you showed yourself to be more purposeful in the planning and execution of your marks, but the deeper we get into the lesson's work, the more that falls away. I'm not sure if your pens were just dying, but if that's the case, make sure you switch to a new one.

• When you have many petals that overlap one another, it is still important that you draw each one in its entirety, rather than letting them stop where they're overlapped by another form. Remember that every drawing in this course is an exercise in spatial reasoning - that means we need to fully understand how each individual form exists in space, and how they relate to one another. When we draw them only where they're actually visible (and not hidden by something else), we focus only on the drawing as a two dimensional thing.

• Based on the tight crop of many of these drawings, I am under the impression that at least a fair number of them are drawn quite small on the page. Whether or not this is true, it's worth explaining that drawing small can severely impede your ability to think through spatial problems, while also limiting your ability to engage your whole arm when drawing. It's a great way to end up with drawings that feel clumsy and don't provide you with the means to really control your linework properly.

Now, I am going to ask you to redo the plant construction portion of this lesson, primarily because of the linework being as it is. I want you to do no more than one drawing per day, so you don't feel compelled to rush through anything, and I want you to do no more than one drawing per page (ensuring that it takes up as much of the page as is needed). Use the ghosting method for every single mark, and be sure to invest as much effort as is required to draw each mark, shape and form to the best of your current ability.

I know you are entirely capable of doing better than this, but you have to make the active, conscious choice to adhere to those mark making principles.