Starting with your arrows, you've largely done a pretty good job in constructing the arrows such that they flow smoothly and fluidly through 3D space. You're also showing a good application of foreshortening to the negative space - that is, specifically how the gaps between the zigzagging sections get narrower as we look farther back.

You carry this sense of fluidity fairly well into your leaves - looking past the detail, I can see that the basic leaf shapes themselves are well laid out, with a good sense of movement to them. The way in which you add the edge detail however is somewhat inconsistent - sometimes you build it directly atop the simpler edge, having these little sections rise off that edge and then return to it, but more often than not you tend to zigzag back and forth across the simpler edge with a single, continuous stroke. As explained here, that edge detail needs to be built right off that previous edge, rather than treating it more like a loose suggestion. Furthermore, don't draw zigzagging lines in a single continuous stroke - draw them as sections, each individual stroke rising off and returning to the edge before stopping, and starting another. This way we can stay in line with the third rule of markmaking.

Additionally, it seems that you've somewhat confused the additional lines you've drawn along the surface of the leaves as a mixture of being arbitrary made-up contour lines, and being actual details. In a number of places you're drawing those lines as though they represent the veins along the surface of the leaves. This is not correct - because if we were capturing those veins, we'd be treating them as a texture, which would mean capturing them using the shadows they cast, as described back in lesson 2. Make sure you pin down precisely what you're trying to accomplish with a given mark - putting down a made-up line to help describe how that surface flows through space is fine, but if you want to capture an actual feature of that surface, make sure you do so appropriately. Veins are not just lines - they're actual three dimensional forms, and so they need to be captured as such.

Continuing onto the branches, I can see that you're generally making an effort to extend your segments fully halfway towards the next ellipse (as demonstrated here), although you do sometimes fall short of that. Extending them all the way to the midway point is important because it provides us with enough of a runway to use for the next segment. By overlapping it directly before continuing onto the next target, we can help those segments flow more seamlessly together. Keep pushing yourself to do that, as it'll help you construct more solid branches, while also avoiding those visible 'tails'.

Additionally, try to keep the width of your branches consistent throughout their lengths, rather than having them get narrower in various places. This will help maintain the illusion of solidity, as varying widths tends to make the shape itself more complex, which undermines the illusion of solidity. There are no doubt going to be situations where you'll want the width to gradually taper off, but for now nail getting them to feel solid at a single consistent width.

Continuing through your plant drawings, you've largely done a pretty good job. The issues I mentioned above certainly do continue to come up (for example with the morning glory, you frequently use lines to imply detail rather than shadow shapes, and the more complex edges don't appear to adhere to the simpler ellipse you drew to define that edge initially). That said, the core aspects of construction, of simple forms building up to create more complex objects, is coming along well. You also do a pretty good job of keeping the leaves and petals flowing smoothly and fluidly - especially in the peony.

One recommendation I have for any forms that involve a lot of ellipses - for example, flower pots and vases - is to construct them around a singular, straight minor axis line, and aligning each ellipse to that line such that it cuts each one into two equal, symmetrical halves. Also, don't forget to draw through your ellipses, as we discussed back in Lesson 1. You should be doing that for each and every ellipse you draw in these lessons. You generally do adhere to this properly, but there are a few where you've neglected to do so.

All in all, your work is pretty solid, and I think you're making good progress. Just watch out for those matters of texture, and when capturing any kind of texture, make a point of drawing your marks in this two-step process. That'll ensure that you are always drawing shapes, not individual lines.

I'll go ahead and mark this lesson as complete.