Jumping right in with your arrows, you're off to a good start. You've drawn these with a great deal of confidence, which goes a long way towards pushing the sense of fluidity with which they move through all three dimensions of space. This carries over very nicely into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through the space they occupy.

When it comes to adding edge detail you have generally handled it well, albeit at times a little sloppily - I know that when you're adding a ton of different marks it can feel very tedious to take your time with each and every stroke, but ultimately that is what's required of us here. When you end up leaving little gaps as we see here, we end up breaking the illusion that we're modifying the existing structure, and remind ourselves and the viewer that it's really just a collection of lines on a page. Additionally, watch out for cases where you end up zigzagging your edge detail back and forth the existing edge, as we see here. You can read more about the reasoning behind this here.

Continuing onto the branches exercise, you've generally done quite well here - although I did notice a few places where you'd start an edge segment a little further down, which resulted in the overlap between them being minimized. This didn't happen often though (like just a couple spots), and for the most part you followed the instructions quite well, leading to a healthy overlap that allowed for a smoother, more seamless transition from one to the next.

Moving onto your plant constructions, overall you've done very well. You're holding to the principles of construction, building up from simple to complex, and avoiding skipping steps. The one area where I feel there's definite room for improvement is the use of cast shadow shapes - which itself is not necessarily core to the course, but as cast shadows themselves define the relationship in 3D space between the forms that cast them and the surfaces that receive them, it is not unimportant either.

In many cases here, I can see clearly how you came to the specific shape of a given cast shadow, based on the forms that are present - but there are other cases where that becomes less obvious. For example, looking at your potato plant demo drawing, the cast shadows towards the bottom/most forward leaves are correct in a general sense (although do still suggest that you may not be considering the specific relationships between each leaf and the shadow it casts upon the ground), it gets particularly weird as we move further up in the drawing where you've filled in the negative space between leaves where there's no physical surface for those shadows to reasonably fall. Given the camera angle in your depiction (which is lower than mine) we wouldn't be able to see the ground/soil through those gaps in the upper leaves, and thus there's nothing to catch the shadows there. It seems more that you decided to fill in the negative space more arbitrarily.

When designing your cast shadows, be sure to always consider - what form is casting this shadow, what surface is receiving it, how far apart are they in space, and how would the shadow shape itself be designed to convey the specific relationship between them. There are plenty of circumstances where we've got lots of forms, casting lots of shadows (like the potato plant) - though it's still important that you think of each form separately, and cast their shadows separately. They'll merge together, but the resulting shape will still maintain a more realistic relationship with the form casting it.

So! I'll go ahead and mark this lesson as complete. Your construction's coming along great, but pulling back on those cast shadows and giving yourself more of a chance to think through them should help as you continue moving forwards.