Starting with your arrows, you're doing a great job of capturing these with a good deal of fluidity and confidence in the execution of your linework. This carries over somewhat into your leaves, although I do feel like to a point these are a little more stiff - I think that if you were to focus more on how the flow line is meant to capture the manner in which the form itself moves through space, and how it represents the forces of wind and the currents of air that drive the leave around, you'll be able to capture these with a greater sense of life. Always remember that every phase of construction has a job - the flow line and the simple silhouette that follow are all about capturing how the leaf moves through the world. One thing I feel helps with this is to add a little arrow head to the end of the flow line to really channel the same mentality you used when going through the arrows exercise.

Moving onto the branches, I think here you didn't quite follow the instructions for this exercise. It appears that you're more or less having each segment start where the previous one ends, which is not the process shown in the instructions. Each segment should start at an ellipse, should continue past the next ellipse, and stop halfway to the third. This allows for each segment to overlap by a distance equivalent to half the distance between ellipses - enough to help make the transition from segment to segment smoother and more seamless.

Continuing onto your plant constructions, I feel you're generally doing a pretty good job here. You're mindful of building each plant up from simple components, and building up to greater levels of complexity in a gradual, step by step manner. You're also mindful of various pieces of complexity - like the thickness of your flower pots - that many students erroneously skip over (although you did skip over them in your coral snake plant and the fiddle leaf plant, even though you did build up more ellipses nicely in the traveler's palm and fern).

I mainly have just one piece of advice to offer here - when drawing any of the objects you will throughout this course, prioritize giving each given drawing as much room on the page as it needs. I can see that here you've been enthusiastic about drawing several drawings to a page - which is certainly laudable - but it has its downsides. Most notably, when we artificially restrict how much room we give a drawing, we can really impede our brain's capacity for spatial reasoning, and also make it harder to engage our whole arm when drawing. This can make some of your linework a little clumsier than it would otherwise be if you'd drawn them larger.

When drawing these, first ensure that you're giving that first drawing on a page as much room as it demands. Then, you can assess whether another drawing will fit in the space that is left over. If another will fit, great - go for it. If it won't, it's okay to just have one drawing on a page, as long as you're making good use of the space that is available to you.

You can also feel free to cut off unnecessarily repetitive parts of a construction - like shortening the dandelion or daisy's stem on that last page to get more space for the more complicated, engaging elements of the construction. I definitely feel this would help you both yield better results, and also benefit more from each individual drawing as an exercise.

Aside from that, you're definitely moving in the right direction, so I'll go ahead and mark this lesson as complete.