Nice work! Starting with your arrows, these are largely looking very well done, and convey a strong sense of fluidity and energy in how they flow through all three dimensions of space. I did notice a couple places where you seemed to redraw lines where you may have felt you'd made a mistake, which resulted in those areas getting scratchy, though for the most part you did a good job of drawing with confidence and avoiding any such habits.

Moving onto your leaves, I'm very pleased with how you largely carried over the same confidence and flow from your arrows, and also demonstrated a strong grasp of how construction is to be applied, adhering to the underlying phases when adding new detail. I did notice a couple places where you strayed from this however - specifically on these two spiky leaves, we can see where the spikes zigzag around the previous phase of construction (the simpler edge). In these cases, as shown here, it's best to either add those to the simpler form of the leaf by ensuring every spike comes off the simpler edge.

Moving onto your branches, you largely did a good job, but I did notice one common but important mistake - you only seem to extend your edges slightly past a given ellipse, rather than the full halfway towards the next ellipse. This additional extension is important because it gives us ample runway for our next segment to overlap directly before firing off towards its next goal. This in turn allows us to make the segments flow together more seamlessly, instead of having visible breaks between them.

Moving onto your plant constructions, these are largely very well done. You're demonstrating a really confident manipulation of form, both the more solid forms we see in our flower pots, and the fluid, flowing forms of the leaves and petals. I do feel that you're certainly drawing with a great deal of confidence behind your marks, which generally is a strength, though there are certainly places where this may drive you to take action a little too soon. For example, the flower pot on this page ends up being slightly haphazard. Taking the time to construct your cylindrical forms around a central minor axis line, and then ghosting through each ellipse a little more will certainly improve your results. Don't lose that confidence, just be sure to reinforce it with proper planning beforehand.

Another thing I noticed was that you usually give your drawings plenty of room for your brain to think through their spatial problems, but there were a couple exceptions. For example, the orchids are quite tall, and therefore the flowers themselves end up being cramped into a fairly small space. To top this off, it was placed in a page with another drawing, giving it only half as much space as it otherwise could have had. On top of giving such plants their own dedicated page, you may also consider just drawing the orchid flowers themselves, allowing you to focus more specifically on their forms and how they flow through space and relate to one another.

The last point I wnated to make is about this more detailed drawing. I think this was a pretty solid attempt at adding more detail and texture to your drawings, and you should be pleased with the result. I did however notice that there was a tendency to be a little more scratchy with your linework, using more hatching in certain places (likely to represent the gills of the mushrooms, which is certainly a good way of thinking). The result however is that you end up with a lot of little pockets of sharp contrast, with a lot of white/black crammed together. This kind of contrast will draw the eye due to its visual noise - and when it comes to composition, controlling where the eye goes is key. So, it's generally good to allow yourself to let these areas fuse into larger, more solid shadow shapes, filling them with black and allowing the edges of these shapes to tell us about those shapes' contents, rather than having lots of little bits of white inside. This will allow you to focus the viewer's eye where you want it to go, instead of having it get lost in the weeds, so to speak.

To that point, just one last thing - I noticed that the dirt/gravel at the base of this lovely little cactus were largely drawn with fairly complete outlines around then, then hit with little splashes of shadow. When tackling this kind of texture in the future, leave the lines out entirely. Try your best to capture the impression of the little nuggets of dirt using shadow shapes alone. I know it's difficult to do this without being able to first establish where each piece of dirt sits, but try and focus in on one individual piece at a time, placing the shadow it would reasonably cast, then moving onto its neighbours.

So! All in all, great work. I'll go ahead and mark this lesson as complete.