Starting with your arrows, you're largely doing a good job of capturing these with a fair bit of confidence, which is helping to establish the manner in which they flow through the world. This carries nicely into your leaves, where you've captured not only how they sit statically in space, but also how they move through the space they occupy.

I can also see that you're taking some effort to have your edge detail build off the previous phase of construction - but I think there's one main issue that is giving you some trouble here. It appears that you're trying to add that edge detail with a single continuous stroke, and in some cases it is resulting in more of a zigzagging, as explained here. Always build up that edge detail with a separate stroke for every bump, coming off the previous phase of construction and returning to it before stopping, and do not attempt to replace the previous phase of construction outright.

Continuing onto your branches, I feel you may not have fully understood how this exercise is meant to be tackled. From what I can see, it looks like you're drawing the edge segments such that they only overlap slightly. As shown here in the instructions, you are expected to draw each segment such that it starts at one ellipse, goes past the second, and stops halfway to the third. This means that the next segment would then start at the second ellipse, and continue on from there, resulting in a healthy overlap of about half the distance between ellipses. This overlap is important to help us achieve smoother, more seamless transitions from segment to segment. Yours tend to have a little break where they meet, which we're trying to avoid.

As one other point, I noticed that you weren't consistently drawing through each of your ellipses two full times before lifting your pen (you did so sometimes, but not others), and the degree of your ellipses appears to remain the same throughout the full length of a given branch. As explained in Lesson 1's ellipses video, if we sample cross-sections along the length of a given cylindrical form, we'll find that those cross-sectional ellipses get wider as we move away from the viewer.

Continuing onto your plant constructions, overall these are coming along well, though I do have a few things to call out:

• Most of all I noticed that your use of line weight/cast shadows is getting a little muddy. Cast shadows and line weight are two separate tools, and they abide by different rules. Line weight for instance can run along the silhouette of a form, but it's usually kept very subtle - we don't go overboard on thickening our edges here. Furthermore, it's best used when focused in specific, localized areas where overlaps occur, to help organize those overlaps, as shown here in this example of two overlapping leaves. Cast shadows on the other hand cannot run along the silhouette of an existing form, it has to be cast from one form onto another surface. Cast shadows cannot simply float in the air. They can however be drawn as large/thick as needed, and it's best to first outline our intended cast shadow shapes before filling them in (so we can design that shadow, and the manner in which it relates to the specific form casting it, in an intentional manner). If you look at this daisy, it appears as though you've got either really thick line weight, or cast shadows that extend well past the surface upon which they're being projected.

• Looking at that same daisy I linked above, another point I want you to keep in mind is that when building on top of an underlying constructional element (like the flow lines for each of your petals), try your best to stick very close to that existing structure - so in this case, having your petals actually end right where the flow lines do. You won't always be able to nail that perfectly, but in general you should strive to avoid arbitrary gaps between phases of construction. Keep those relationships nice and tight, as though you're literally building on top of that structure, as though it was real and tangible rather than just a drawing.

• Don't forget to draw through all of your ellipses two full times before lifting the pen, and also being sure to use the ghosting method/drawing from your shoulder for your ellipses will help reduce any hesitation that causes them to stiffen up. The ghosting method breaks the markmaking process into separate stages to help encourage a confident execution.

• For this potato plant, it does seem like you left it a little half-finished. Without having all the leaves casting their own shadows, it looks like the larger areas you filled in with black are just totally arbitrary. They should themselves be the shadows the thicker area of leaves cast upon the ground beneath them, but we'll only perceive it that way if all your forms are casting shadows. Also, the shadows cast by the petals are clinging too much to the pebbles themselves. Remember that they're cast from that form, but they don't cling to it - they're cast onto the surface below.

All in all I do feel you're moving in the right direction, but you do have a number of things to keep in mind here as you move forwards. Be sure to review this critique a few times as you continue on, and make sure that you practice the branches exercise correctly when doing it as part of your warmup routine. I'll go ahead and mark this one as complete.