Starting with your arrows, these are drawn with a fair bit of confidence, so you're doing a pretty good job of capturing how they move fluidly through space.

This carries over quite nicely into your leaves, where you're doing a good job of capturing how they not only sit statically in space, but also how they move through the space they occupy. I'm also pleased to see that you appear to be handling more complex leaf structures as well as complex edge detail correctly, although you probably should have attempted to add further edge detail to more of your leaves - you've got a bunch that just stop at step 2, rather than being taken further. It's simply a missed opportunity for further practice.

Continuing onto the branches, these are similarly well done - just make sure that you extend your edge segments fully halfway to the next ellipse, instead of having them extend only slightly past the previous ellipse. As shown here, achieving a healthy overlap helps us achieve a smoother, more seamless transition from one segment to the next.

Looking at your plant constructions, as a whole you've done a pretty good job. You're holding well to the core principles of construction - that is, building up from simple structures and working your way up to greater complexity. I'm also pleased to see that you held well to the lesson on how to add edge detail or complexity to your leaf structures - often students will approach the exercise correctly, but then slip back into old habits when applying it to their plants. I do however want to point out that when building upon an existing structure and adding complexity to it, try to stick to the same general level of line thickness, and avoid making things thicker as you build up. When lines naturally overlap it's hard to avoid, but I see cases - like with this one where you are definitely pressing harder with your pen.

Instead, you can give it another pass once you're done the construction to build up line weight in specific, localized areas to help clarify how your forms overlap one another, as shown here. Avoid using line weight in a way that distinguishes one phase of construction from another.

Moving forward, another fairly minor point - when constructing any sort of cylindrical structure, including your flower pots, be sure to construct them around a central minor axis line. This will help you align your ellipses, which is useful - because generally you're going to want to include quite a few ellipses, as there's often more complexity in those structures than you might expect. Sure, there's the opening, and the base of the pot. But then there's the level of the soil itself, with which the stems/branches of the plant intersect. There's also the thickness of the rim that we can convey by placing another ellipse inside the opening.

For all of those ellipses, be sure to draw them using the ghosting method, engaging your whole arm, doing so confidently, and of course drawing through the shape two full times before lifting your pen.

The last thing I wanted to mention pertains to how you approach the detail phase of your drawings. It's entirely fine that you only tackled it once, with this sunflower, but from what I can see, your focus here was primarily on "decorating" the drawing - to make it look impressive and complex. Decoration isn't a particularly effective goal, simply because there's no clear point at which we've applied enough decoration. It's arbitrary and subjective.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

The goal becomes to convey specific information to the viewer - to make them understand how it would feel to hold or touch various parts of the plant. This is something we can achieve, something that works as a concrete goal, which is far more specific than simply focusing on capturing what we see to some arbitrary degree.

So! Be sure to keep these points in mind. I'll go ahead and mark this lesson as complete.