Starting with your arrows, you've done a good job of drawing these with a good deal of confidence and fluidity. One thing to keep in mind however is that as the arrow moves away from the viewer, the gaps between the zigzagging sections should compress as shown here. Additionally, when adding line weight, be sure to draw those marks with confidence, lifting your pen off the page before the motion stops to create a bit more of a taper in the mark. As explained here, this will help the line weight blend more smoothly into the original linework.

Moving onto your leaves, there's a bit of a split here. Towards the upper right of the page, you're drawing leaves that feel much more fluid, capturing not only how they sit in space but also how they move through the space they occupy. The others however look to be much more rigid, and you were definitely more focused on how they sit on the flat page itself. Remember that with that first step, when you define the flow line, your only focus should be on capturing a sense of movement. One thing I find helps me with that is to draw a little arrow head on the end of the line, to remind myself of that.

Again, the way you approached building up more complex edge detail was well done towards the upper right (specifically this one), specifically because you didn't try to replace the existing structure, and merely built upon it. With most of your others however, there were various issues. Here for instance, you zigzagged back and forth across the previous phase of construction (an issue I specifically warned against here). This one was considerably better structured, adhering to the previous phase of construction more closely, but really you shouldn't have tried to redraw/replace the parts of the earlier construction that did not change, as shown here.

Construction is not about redrawing the entirety of your result at every stage - it's about just building upon the existing structure, achieving more complexity in phases, rather than ever taking a leap without the appropriate structure to support it.

As a side note, be careful when it comes to capturing the veins of leaves. They're not just simple lines - they're tube forms present along the surface of the object, meaning that they should be captured using the textural techniques discussed in Lesson 2, focusing on capturing the shadows they cast. You can actually see an example of this in the leaf exercise instructions.

Moving onto your branches, you've followed the instructions fairly well here, and while there is room for improvement - specifically in improving the control of your lines (through the use of the ghosting method), you're headed in the right direction. It's largely a matter of practice, and perhaps investing more time into the planning and preparation phases before executing your marks with a single, purposeful stroke. Also remember that a "confident" stroke doesn't necessarily imply a "fast" stroke. It's just that drawing faster tends to reduce the likelihood we're going to try and steer the mark with our eyes, which tends to result in wobbling. If you find you can draw a little slower while still maintaining the confidence of the stroke, that may be a good way to regain some control.

Moving onto your plant constructions, you've got some varying results. Overall you're not doing badly, in that you're holding to many of the core principles of constructions, but while the amount of time you've listed next to each drawing certainly suggests you're investing quite a bit of time into each drawing, your individual strokes do frequently feel kind of rushed. Ultimately only you know how you're approaching your markmaking and where you're investing the time - though over the last however many years, I've primarily focused my critiques on what the drawings themselves tell me. Here, they are telling me that your marks aren't being made as conscientiously as they could.

Linework aside, there are a few specific issues I want to point out in particular. The first of these is with the hibiscus demo. The ellipse we start out with here serves a specific purpose, and placing it on the page asserts a specific decision, or truth. It defines how far out our petals will extend. And so, the flow line of every petal must extend to the perimeter of that ellipse. Similarly, the flow line of each petal asserts a specific decision, establishing how the petal moves through space. Once established, we have to follow it, and the petal shape constructed around it must end where the flow line ends. For one of the petals in this drawing, you ignored the flow line and opted instead to extend it well beyond.

Next, let's look at your potato plant demo. Here you followed the demo a fair ways, but didn't take it all the way, and for that reason there's actually a bit of a problem. You filled in the areas of solid black between the leaves in the center, but didn't end up adding any of the other cast shadow shapes that were added further in. As a result, there are no visual cues telling the viewer that those filled black areas are cast shadows. Instead they read as though you've just filled in the negative space between them with black, creating an entirely different interpretation of a plant floating in space.

Make sure that with any drawing - whether you're following along with a demo or doing one of your own drawings - that you take it to proper completion. What that means is up to your own interpretation, but purposely leaving things unfinished is something that requires a pretty good reason, when submitted for this course.

The last thing I wanted to call out is just in relation to the lines you tend to add to your petals, usually to capture the "ridges" we often see on our petals. When drawing these, remember that they are texture, and therefore are subject to the concepts and techniques covered back in Lesson 2. When drawing texture, it's best to avoid just putting down simple lines, and instead always try to figure out how the mark you're making represents an intentional cast shadow shape, cast by some specific form present on the surface of the object. One thing that can help you stick to this is to purposely use this two step process for all your textural marks: first outlining your shadow shape, then filling it in. This will help you avoid the temptation of just painting on line by line, stroke by stroke, which tends to be less dynamic and less intentionally designed.

There are definitely a lot of things for you to work on, but overall I think your grasp of construction is coming along decently. The most important thing is really just that you take more time with every individual mark, being sure to use the ghosting method for each and every one to allow you with proper planning and preparation preceding the execution. This is something you can continue to practice both in your warmups and in the next lesson.