Starting with your arrows, you're doing a great job of drawing these with a good deal of confidence, which helps to sell the sense of fluidity with which they each move through the world. This carries over quite nicely into your leaves, where you're doing a good job of establishing both how they sit statically in 3D space, and how they move through the space they occupy.

When it comes to adding edge detail, you're generally handling this well, except for this monstera leaf. Here you're ending up with a weaker relationship between the different phases of construction, especially towards the tip where your later lines tend to cross back and forth over the previous phase of construction's boundaries. Here's a quick demo on how to approach this such that it actually builds upon the existing structure, rather than merely being drawn on top of it. Of course if you want to add more wavy bits along the edges, you can do so afterwards but in a separate step. Do not try and build up everything all at once, to the point where you end up redrawing large chunks of the structure at the same time.

Continuing onto your branches, your work here is looking quite good. Just be sure to extend each edge segment fully halfway to the next ellipse, as shown here. Yours do have a tendency to stop sooner than that.

Looking at your plant constructions, overall you're doing great. You're very mindful of constructing solid, fully self-enclosed forms, and drawing each one in its entirety rather than letting things get cut off where they're no longer visible. You also generally demonstrate a great deal of care behind your linework, and hold to the principles introduced in the exercises earlier in this lesson. I have just a couple things to call out:

Firstly, there are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. So, as a result, there are cases where things like the potato plant demo on this page ended up being given a lot less room, which did undermine just how well you were able to follow along with its steps.

The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

Also, in cases like the flower on the bottom right of this page, you could definitely have given yourself a much better chance to study the flower section itself if you cut the stem short. You do not actually have to reproduce everything in your reference image - it's just a source of information, and you get to decide what you want to focus in on.

The second point I wanted to mention didn't come up too often, but I did still want to mention it. As you build up your phases of construction, avoid making your later steps thicker/darker than the earlier ones, as this encourages us to redraw more of that structure, rather than simply building upon what is already there. We can see this a fair bit on this page for instance.

When it comes to line weight itself, it's best applied as its own separate phase towards the end of your construction. It can be focused on clarifying how different forms overlap one another, generally being limited to the localized areas where those overlaps occur as shown here.

And that about covers it! I'll go ahead and mark this lesson as complete.