Starting with your arrows, you're off to a great start. You've done a great job of capturing the linework here with a lot of confidence, which has helped you to capture the way in which they each flow fluidly through the world. This carries over decently into your leaves exercise, where you're making good progress in capturing both how they sit statically in 3D space, as well as how they move through the space they occupy. That said, keep pushing yourself to draw that initial flow line and the silhouette edges that follow with a focus on how they represent the forces of wind and the air currents that push the leaf around, even if you need to exaggerate beyond what your reference image strictly conveys.

That aside, you're doing a good job of building up more complex edge detail in your leaves, as well as in tackling more complex structures that require recombining the same process and layering different leaf shapes together. I can also see that when it comes to texture you are trying to think about how your textural marks themselves are all cast shadow shapes that imply the presence of textural forms. They do have a bit of a tendency to be a little clumsy though - one thing I find helps is to try to approach the execution of each of these shadow shapes in a two step process. First we draw the outline of the given shadow shape, designing it whilst thinking about the form that is meant to cast them, then we fill them in, as demonstrated here and here. A lot of clumsiness can occur when we try to draw the shadow shapes on in one go.

Continuing onto your branches, you're handling these fairly well, although there is definitely some stiffness to some of your ellipses. Be sure to always execute these using the ghosting method (investing your time in the planning and preparation phases, followed by a confident execution), and by engaging your whole arm from the shoulder. This will help you keep your ellipses tighter and more evenly shaped.

Moving onto your plant constructions, for the construction aspect itself, you're doing a good job. You're employing the various techniques shared throughout the lesson, you're building things up in successive constructional steps from simple to complex, and as a result your constructions come out feeling fairly complex. This can certainly be improved further, but it primarily comes down to continuing to take more time to observe your references and identify the specific nature of each form you wish to carry over from your reference. This of course is normal and will progress with practice.

There is one other key issue. What I pointed out in regards to texture earlier applies throughout your drawings here as well - but taking it one step further, I think you're just too eager to put down textural marks that you're perhaps exaggerating the prominence of your textural forms way more than you should. If we compare this drawing to its reference, we can see that even though you declared the presence of a lot of significant textural forms on the surface of those petals, the reference actually shows that they are for the most part very smooth.

When it comes to texture, you should not be going out of your way to find reasons to add more marks. Some students approach it as though the textural detail exists to help make their drawings feel more interesting and complex, and so they treat it more as decoration. This is not the case, however - we only want to put down textural marks when they're actually required, and even then, it's best to try and get as much across with as little (in the way of marks or use of ink) as possible. In other words, "less is more".

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

So, as you continue to move forwards, take more care with the use of texture here, and make sure that every form you choose to imply through cast shadow shapes is indeed necessary. Ultimately it comes back to both ensuring you're aiming for the right goals, and that ultimately you're taking care to observe that reference carefully and constantly to work from the raw material, rather than from what you remember of it.

I'll go ahead and mark this lesson as complete, so you can continue to work on these points in the next one.