All in all, your work here is extremely well done. It all looks fantastic, but there are often situations when students who are especially skilled can potentially sidestep certain key aspects of the exercises. I'll step through it, and we'll see if there's anything useful that I can point out for you.

Starting with your arrows, you've drawn them with a great deal of confidence and an excellent sense of fluidity. That carries over nicely into your leaves, where you've captured not only how they sit in space, but also how they move through the space they occupy. One thing I do want to draw attention to, and I suspect this'll come up again in the plant constructions is that you're a bit liberal when it comes to applying line weight along the length of a full stroke. Your use of lineweight - that is, keeping it subtle and light - is well done, but it's important that you not apply it to too much of an existing line. Focus it in small areas to clarify specific overlaps.

What you want to avoid is the impression that you're redrawing or replacing existing lines. For example, if we want to add edge detail to a leaf, we don't redraw the entire edge with the changes added to it. We only draw the parts that change, as shown here.

Moving onto your branches, these are largely looking pretty good, although I am definitely seeing places where you've got more than two strokes piling up atop one another. The branches exercise focuses heavily on having two strokes overlap in key areas to help flow from one segment to another smoothly and seamlessly - but you shouldn't be drawing those marks over and over. Every single line you draw is a choice you're making, and every stroke is the end of working through the ghosting method. As such, you should never be in a position to "accidentally" draw more lines than what the exercise requires.

As a side point to that, I'm noticing that you're not always extending your lines fully halfway to the next ellipse, so make sure that you do so, as shown here.

Continuing onto your plant constructions, the point I made about redrawing your leaf edges definitely comes into play here as well. For example, I can see how you've gone back over the entirety of every leaf on the right-hand plant on this page, or just about. This also made you more predisposed to drawing those initial construction lines more faintly. When going through this course, don't attempt to hide any lines - draw everything with the same initial confidence, and then sort out the clarification of your overlaps with line weight afterwards. We can see more of those faint constructions later in your work, where you start focusing much more on creating pretty pictures, rather than treating each drawing as an exercise.

Looking at the leaves on these plants, I am admittedly very happy to see how you're structurally adhering to the previous phase of construction when adding more complexity to those leaves' edges. While the whole "redrawing edges" issue is still present, it does show that you're maintaining clear, concise relationships between phases of construction, so as to maintain the "answers" given by those earlier phases, rather than answering the same "question" multiple times and leaving room for contradictions within your drawing.

That said, if we look at this later page, there are definitely more cases where you drift away from your previous phases of construction, or jump ahead into complexity that isn't quite supported by the structure that is present, especially when it comes to the leaves. While you are clearly fully capable of doing so without undermining the illusion that your plants are 3D and solid, remember that the work you do in these lessons is not to show me your skill level, nor is it to draw using your instincts. The purpose is to train your instincts so when you do draw outside the course, they'll be more sharply honed. Going through all the steps, even if they seem irrelevant, is how you'll help push past the plateaus we inevitably reach once we've learned a great deal already. It's impatience and a bit of hubris that keeps us there.

As addressed in the branches, the stem of this daisy has a lot of lines. It's just another case where you're getting a bit too ahead of yourself, and not adhering to the core principles of the course. Every line needs to be drawn using the ghosting method. That means taking your time and thinking, rather than acting by instinct and reflex.

Lastly, in this potato plant drawing, you neglected to draw through every leaf in its entirety. Doing so - that is, drawing as though we have x-ray vision - allows us to better understand how the forms we're adding into this world sit in space, and how they relate to one another within that space, which is at the core of what we're studying here.

So! All in all, your drawings are lovely, but you do have a lot of areas in which you're letting that distract you from the core purposes and focuses of the course. You're still good to move onto the next lesson, but be sure to keep that in mind.