Starting with your arrows, you're doing a good job of establishing how they flow through space with confidence. That confidence and sense of fluidity comes through fairly well into your leaves, where you're doing a notable job of conveying how the leaves not only sit statically in space, but also how they move through the space they occupy. You're also doing a good job of building up the additional complexity when it comes to the complex edge detail. The texture admittedly does feel a bit vague and non-specific - if you're not using reference for the textural details, then make sure you do. If you are using reference images for that, then you may want to take more care in studying it a bit more closely. You're moving in the right direction, but there definitely is still the kind of oversimplification that comes from working more from memory rather than consistent, frequent, direct observation.

Moving onto your branches, the results themselves are good, but there's a key issue that actually comes out moreso in the plant constructions themselves. You're not adhering as closely as you could to the actual steps of the process - the first segment is meant to go past the second ellipse and halfway to the third, while the second segment starts at the second ellipse, goes past the third and stops halfway to the fourth. This results in a healthy overlap between the two. You're much looser in your adherence to this, which often tends to limit the actual amount of overlap. That overlap is important because it allows the segments to flow more smoothly and seamlessly from one to the next, as demonstrated here.

Now I do want to mention that your work on the branches themselves in this exercise still has really nice, seamless transitions, but because you weren't adhering to those steps as closely as you should have been, you were more prone to ending up with more sudden, jarring transitions in areas of your plant constructions, like the big base roots of your bonsai.

Now, moving onto your plant constructions for the most part these are quite well done. You're demonstrating a solid grasp of the principles of construction throughout your work here. There are just a few things I wanna draw your attention to:

• When you have a plant that consists of a lot of smaller components - for example, the numerous leaves in this one, you have a tendency to put less effort into each individual leaf. This follows the same principle as what's described here back in the ghosted planes exercise, how when we we're just tasked with drawing a line, we'll put our all into it, but when we're tasked with drawing a box, suddenly each line is going to receive much less effort overall. As a result, when you have to draw a bunch of leaves, you tend to put less effort into establishing how that initial flow line moves through space, causing the leaves to feel more stiff. While this means you have to be more consciously aware of the specific mark you're drawing and put effort into it specifically, another thing that can help with stiff leaves is to place a tiny arrow head at the end of your flow line to remind yourself of how it's meant to capture a sense of movement.

• For that same linked drawing from the previous point, and also in general - whenever you construct any sort of a cylindrical structure, like a flower pot or a vase, that consists of many ellipses, be sure to construct it around a central minor axis to help keep the ellipses aligned to one another.

• For the apple drawing, I recommend giving the notes here a read. You actually don't need to use much linework to make a ball form feel solid and spherical, but it's a matter of using the more effective tools in your arsenal, and making sure you're executing them properly. This means using the ghosting method and drawing from your shoulder to make sure all your ellipses come out tight and consistent.

• Looking at the hibiscus, always remember that all the little marks you've placed on the surface of the petals are part of a texture - they're little shadow shapes created from the ridges along the surface of the petals. This means you should be keeping the principles about texture from lesson 2 in mind, avoiding drawing those shadows as simple lines, and always defining them as consciously and purposefully designed shadow shapes. One way to avoid drawing textural marks as lines is to use this two step process.

Other than that, your work is largely coming along well. I'll go ahead and mark this lesson as complete.