Starting with your arrows, you've done a great job of drawing these with a great deal of confidence, which really helps to push the sense of fluidity with which they move through the world. 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.

As far as adding edge detail goes however, you're definitely a lot more loose with this than you ought to be, and there's a lot of zigzagging back and forth across the existing edge, which results in much weaker relationships between your phases of construction, especially as we get into the bottom left corner of the page. Remember - what we're doing here is not putting down a rough sketch to use as a guide. We are effectively introducing a structure to the world, as though it were a simple leaf shape cut out of a piece of paper, and as we add edge detail to it or build up its structure, we are actively making physical changes to that existing form. If we want to add spikes to its edge, we're physically adding more pieces of paper to it. If we want to create a wobbly edge, we are physically drooping and lifting sections of its perimeter in 3D space. And if we want to cut into its silhouette, then the lines we're drawing represent the paths a pair of scissors would follow to cut it out, as shown here.

Continuing onto your branches, your work here is generally coming along well, although I do think you could be sticking more closely to the specific instructions laid out here, which demonstrate how each segment should be extending fully halfway to the next ellipse, with the next one starting back at the previous ellipse. This provides a healthy overlap between them of about half the length between ellipses, allowing for a smoother, more seamless transition from one to the next.

Moving onto your plant constructions, overall you're doing well but there are a few points I want to draw to your attention, to help you continue to make the most out of these exercises going forward.

• When mentioning the leaves earlier, I talked about the relationships between the phases of construction. It's important that we keep these as tight and specific as we can, so that we can allow the decisions we make at each step of construction to stand for themselves, and so we can avoid contradicting them with later marks. To this end, avoid arbitrary gaps - so for example, looking at your daisy demo drawing, there are sometimes gaps between the end of the flow lines and the end of the petal. The petal should end right where the flow line does - even if this deviates from the reference image. The reference itself is really just a source of information, so while you should strive to make all your decisions based on what you see there, once a decision has been made (even if it's not 100% accurate due to the mark coming out differently than intended), do not try to reassert the reference by contradicting those earlier steps.

• Here you definitely end with somewhat aggressive use of line weight. Give these notes as well as these a reread, as they explain that line weight should be kept subtle and light, and also should be focused primarily towards clarifying how different forms overlap one another, rather than going back over the entirety of a form's silhouette.

• While it was mildly amusing that you stuck the potato plant demo on the back of a head here, the course is pretty adamant that you should not be doing anything beyond what is instructed (specifically in Lesson 0). You simply never know what might diminish the value of the exercise or demonstration, and you are not in a position right now to identify those distinctions. In this case, as far as the structure of the demo goes, that could have been followed more closely (not a huge deal) but more importantly, filling in the hair behind the plant creates some confusion as to what is meant to be a cast shadow and what is not. This is particularly tricky with this demo because of how we appear to fill in the "negative space" between some of the leaves midway through the demo, but towards the end give those filled areas of solid black context by having the other leaves cast their own shadows. This clarifies that the area that was initially filled is indeed just the leaves casting shadows onto the dirt beneath them, in an area where they're so dense they fill in the negative space entirely.

While the issue with zigzagging edge detail is definitely a concern, I feel that you approach it more correctly throughout your plant constructions, so I'm not going to assign revisions for it. Instead, I'll leave it to you to address those concerns on your own, and will go ahead and mark this lesson as complete.