Starting with your arrows, you've done a great job of drawing these with confident linework that really push the sense of fluidity with which each ribbon flows through space. I do want to remind you though that it's important to consider perspective here, both in its impact on the positive space (the width of the ribbon) and in its impact on the negative space (the gaps between the zigzagging sections. As shown here, exaggerating the rate at which those gaps compress as we look farther back will help you convey a stronger sense of depth in the scene.

Moving onto your leaves, you definitely start out doing a good job of capturing that same sense of confidence and fluidity, pinning down how the leaves not only sit statically in space, but also how they move through the space they occupy - but there are definitely issues mentioned in the lesson notes that come up in your work when it comes to adding edge detail. Most notably, you're zigzagging your edge detail marks back and forth across the existing edge from the previous phase of construction, as explained here.

Taking it a step further, the manner in which you're actually drawing that more complex edge detail with a heavier weight (either pressing harder or using a pen other than the 0.5mm you're meant to be using in this course), it's very clear that your approach focuses on basically replacing the earlier phase of construction with a new, complete leaf. That is not what we're doing here - each phase of construction is meant to build up directly on the previous one, only adding that which changes, rather than rebuilding the entire thing each time. As shown here, every individual mark we add either defines a little addition to the existing silhouette, or the cut-path one might follow with a pair of scissors to cut into that silhouette.

Furthermore, when you want to build up detail that is more complex than the structure that is already present, as you did here, you need to take the constructional approach and add additional steps to it. In this case, you'd create a simple protrusion to that silhouette, then add the smaller spikes along it. Here's an example on another student's work where construction can require additional steps.

When it comes to texture, I think the leaves along the top of the page were handled quite well - though those along the bottom get a little too focused on decoration, leading more into arbitrary areas of solid black rather than focusing on implying the presence of textural forms through specific cast shadow shapes. I'll get into this a little later, in regards to your plant constructions.

Moving onto the branches, here it seems to me you got kind of derailed from the main focus of this exercise. Remember that back in Lesson 0, I stressed the importance of following each exercise to the letter, not to put your own spin on them or take them further than requested. Each exercise follows a specific purpose, and deviating from the instructions can easily distract us from that purpose or outright accomplish something entirely different.

The instructions shown here are all that are asked of you. Draw tube structures moving through space, built off a series of ellipses and using segments that overlap one another to make them feel smoother and more seamless in their transitions. Once you are more comfortable with this aspect of the exercise, there's an additional variant with forking branches shown at the bottom of the notes - but the key point here is that it should only be explored once you feel more confident with the exercise, not immediately thereafter. There's also no mention of drawing branches or plants from reference, adding texture, or any other such thing.

Continuing onto your plant constructions, you do have a fair number of successes here, and to varying degrees - but I think as a whole you do appear to be more focused on the end result. It's important for me to stress that the drawings we do in this course are themselves, an exercise in spatial reasoning. It's not so much a matter of "learn to draw pretty things by drawing pretty things", but rather more like the drills athletes do rather than playing their sport or competing.

This exercise - that is, constructional drawing - puts particular emphasis on having every step defined clearly (as we discussed in the context of the leaves exercise), as well as ensuring that every constructional step maintains tight, specific relationships between them. So for example, looking at the flowers at the bottom of this page, you started them out with a larger ellipse similarly to the hibiscus demo in the lesson. This ellipse serves to define how far out those petals are each going to extend - it's not a loose suggestion, but rather a decision being made at this point. It asserts that the flow line for every petal should end at the perimeter of the ellipse, thus resulting in a tight relationship between the length of each petal (which themselves should stop at the tip of their defined flow line) and that ellipse.

Looking more closely, it does feel that you were quite lax in applying the leaf construction steps. I see a lot of petals and leaves where you didn't actually even start with a flow line, as well as some where you opted to draw different leaves/petals more partially, allowing them to be cut off where they were overlapped by others, like in the top section of this plant. Drawing each leaf/petal, or really any form in its entirety is important because it allows us to better understand how each such form sits in 3D space (rather than just as lines on a page) and how they relate to the forms around them.

Moving onto your approach to the detailed drawings, as I mentioned before there is a definite focus on "decorating" your drawings. For our purposes here, decoration is a difficult goal to work with, due to its general vagueness and lack of specificity. It's difficult to pinpoint when one has added "enough" decoration, after all.

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.

Now, while I do feel like you took a bit of a turn off the path of this course and ended up accomplishing something else in many ways (albeit you did so quite beautifully - your drawings are lovely, and I don't mean to diminish that through this critique), you're actually not that far off the mark. I can see from your work that you certainly do have it in you to complete this lesson without issue, and I imagine that once your priorities are shifted back into place (in the context of this course, that is), that you'll be doing fine. But we do need to ensure that you do that - that you don't go off track from what is assigned.

Above all else, remember that constructional drawing is an exercise. It forces you to understand the things you're drawing as three dimensional entities, little spatial puzzles that require you to understand how the different simple forms fit together and relate to one another in a 3D world, rather than just as lines on a page. By following these constructional principles and procedures, you'll be able to take what you already have developed and hone your ability to make drawings that feel believably three dimensional even before you jump into all the detail and texture.

So, I'm going to assign a number of additional pages for you to complete. You'll find them listed below.