Jumping in with your arrows, you're off to a good start. You've captured these with a great deal of confidence, which helps to sell the fluidity with which they move through the world. This carrives over very nicely into how you've drawn your leaves, which not only capture how they sit statically as 3D structures in a 3D world, but also how they move dynamically through the space they occupy.

When it comes to building up edge detail, I see a few cases where you've done so (but definitely would have wanted to see more, as this is not an optional part of the exercise). For the most part you're doing well, but there is one key issue I want to call to your attention - do not zigzag your edge detail back and forth across the previous edge. I won't get too much into it, as the section of the notes I linked goes over this, but in essence, remember that you are not redrawing the whole leaf from one step to the next. You are merely to draw the parts that change, adding onto the leaf's solid silhouette through the addition of individual marks that rise off the existing edge, and return to it in a seamless fashion. The parts from the earlier stages of construction that can stand for themselves should be allowed to, so that the solidity from those earlier, simpler stages can be carried forward as we build up complexity.

Continuing onto the branches exercise, it appears that you may not have followed the instructions here as closely as you could have, which, as shown here lay out a pretty specific way in which those edges should be drawn. One edge goes from one ellipse, past the second, and stops halfway to the third, and the next starts at the second ellipse and repeats the pattern, resulting in a healthy overlap between them. This overlap allows for a smoother, more seamless transition from one to the next.

While that is an issue you'll want to address, the rest is looking good - you're shifting the ellipses' degrees nicely, and generally maintaining a fairly consistent width to your branch structures - they do get wider and narrower in sections, but it's a fairly gradual thing in most cases which does not get in the way of the illusion of their solidity.

Continuing onto your plant constructions, there's a lot of good here - you're following much of the instructions, applying the principles of construction (although there is still a tendency to redraw more of your construction from one stage to the next than you strictly need to, so keep an eye on that). You're also drawing each and every form in its entirety, which I'm pleased to see - this helps us better understand how each form sits in space, and how it relates to the forms around it, rather than focusing on the object as a 2D drawing, seen only from one specific point of view and unable to turn in space.

The only thing I wanted to take a moment to call out is how you approach the detail phase of your drawings, in the couple of cases where you did push into that territory (which was by no means required, so that's not an issue). Here - and especially in this one and this one where you delved heavily into rendering/shading which as discussed here should not play a role in our drawings for this course - you very much showed a focus on decorating your drawings. That is, doing what you can to make them appear more visually pleasing and interesting. Unfortunately, decoration is not a very concrete goal to pursue, as there is no specific point at which we have added enough decoration, and this leaves us often grasping for more reasons to put down more ink, but without specific purpose.

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.

Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

So! I'll leave you with that, and will go ahead and mark this lesson as complete. Keep these points in mind as you move forwards.