Starting with your arrows, you're doing a great job of capturing how these flow fluidly through space with a strong sense of motion. Those qualities carry over quite nicely into your leaves, where you not only establish how they sit in space as static entities, but also how they move through the space they occupy.

One thing that does catch my eye however is that when you build on top of the basic structure, you are at times just a little bit more loose than you should be. For example if we look at this leaf, we can see the little spikes penetrating just beyond the outline. It's a tiny error, but it does suggest that you're maybe not putting as much time into each individual stroke as you otherwise could. We get the same sort of deal here.

Looking then at some of the leaves where you try to tackle more complex structures (like the maple leaf), you tend to start out with a general leaf shape, but the relationship it bears with your eventual construction is very loose. Constructional drawing is all about establishing tight relationships between phases, allowing a previous phase to answer a question about the structure (like how far out does this leaf extend), and then adhering to it all the way through. These are not suggestions that you can ignore when it's convenient to do so. They're clear signals of intent, which you need to stick to all the way through. You can see this shown here, where in step two of the demo the shape established there ends up serving as the specific distance to which each arm of the complex leaf extends.

Moving onto your branches, your work here is largely well done. While there are a few places where you don't quite extend each line segment fully halfway to the next ellipse, you are doing this correctly with most, which in turn is helping you to more seamlessly transition from one segment to the next.

Moving onto your plant constructions, you are by and large doing very well, but there are clearly instances where the issue I mentioned before in regards to your leaves' edge detail being kind of sloppy show up once again. For example, here it's clear that while you constructed each individual structure quite patiently and thoughtfully, you didn't put nearly as much time or attention to the individual spikes along the edges of those leaves. As a result, they don't really appear to be part of a solid construction, and instead serve to undermine the believability of the construction as a whole.

We see something similar with these leaves, where it just feels like you're rushing a little bit, trying to rely on your instincts to draw those leaves a bit too quickly, and in doing so you're skipping steps and jumping into greater levels of complexity without the appropriate structure present to support it. This is not an uncommon thing - students frequently see other artists work quickly and instinctually, whipping off beautiful imagery without seeming to think very much about it. What you don't see, however, is all the training that has gone into developing those instincts.

That is precisely what we're doing here - working through things slowly and purposefully to develop your instincts, but by rushing through certain sections, you end up trying to use your instincts, whilst training your instincts, which isn't really how that works.

Now, I've picked on some very specific instances - but all in all I'm actually very pleased with your results. As a whole you apply construction quite well, and your results feel pretty solid. You just need to keep from getting ahead of yourself, and make sure that you think about every single mark you draw, considering what specifically its job needs to be and how to best achieve that. The ghosting method in particular helps with this - during the planning phase, we evaluate precisely what we need from a given stroke, how to best approach it, and whether or not it is the best mark for the job.

So! Aside from the simple matter of "don't let yourself rush", the rest of your work is very well done. As such, I'll go ahead and mark this lesson as complete.