Starting with the arrows, these are quite well done. I'd say there's probably more room where you could have squeezed in a few more, but overall you've drawn these with a good deal of confidence to capture how they flow through space. The one furthest to the left could definitely stand to have the perspective exaggerated (making those gaps get tighter more quickly), but I think you show progress as you get into the arrow on the right side of the page.

Moving onto your leaves, for the most part these are well done - you're focusing on how they flow through space, carrying that same sense of movement from your arrows to capture how they flow through the space they occupy, rather than just pinning those leaves down statically in space. You're also building up more complex edge detail quite nicely. The only thing I want you to be more careful with is the actual details/texture - specifically how you approach the veins. You're doing a good job of trying to work with the cast shadows, but they're just too cartoony in proportion. The veins should really be much smaller, and the textural marks there should be much more subtle as a result. I think the most important thing is to make sure that you're looking at your reference material more closely.

Continuing onto your branches, these are looking solid. Just make sure that you extend the segments fully halfway to the next ellipse, as explained here, to ensure your transitions are as smooth and seamless as possible.

Now, as for your plant constructions, as a whole these are quite well done. I have just a few corrections to offer, and they're all fairly minor. As a whole you're doing a good job of building up your constructions gradually to maintain the solidity of your overall construction. Here are the main points I want to raise:

• You appear to be drawing your initial construction lines a bit more lightly (possibly even with a different kind of pen). Don't. None of these drawings are about creating nice, clean, detailed results. Every drawing is an exercise, and the focus is on ensuring that every step is solid and believable, and that they are built upon, one after the other. Right now you're kind of treating the earlier phases of constructions like they aren't part of the final drawing - you redraw/replace parts you want to keep, even if they haven't changed at all. This is incorrect - if something hasn't changed, then it doesn't need to be drawn again. You may be attempting to use line weight here - line weight should be reserved only for clarifying specific overlaps in localized areas. That means you shouldn't be applying it to the entire length of lines, or to reinforce the entire silhouette of a given form. It is applied only to a small area, and is blended back into the original stroke by being drawn with confidence, so the ends of the stroke taper. You'll notice that in all of my demonstrations, I do not attempt to remove the base construction, or separate it from the drawing. It is a part of it, and it needs to be respected as such.

• To a similar point, make sure you draw every single form in its entirety. For example, with this water lily, it's important that every petal be constructed in its entirety. I think you actually did attempt to construct most of them, but there were definitely some that were added as after-thoughts. The reason this is important is that by drawing every form completely, we can understand how each form sits in space, and how they relate to one another within that space. It all comes back to these drawings being exercises in spatial reasoning.

• While there obviously are patterns and local colours (like where the colour of a given surface changes) that we may feel inclined to capture - because of the limited tools we have at our disposal (pens that only allow for solid black or solid white), we simply don't have the means to capture all that additional information. As such, try to ignore patterns/colours and focus only on using filled areas of solid black to capture specific cast shadows. So for example, you're definitely trying to capture some patterning on the petals of thes eflowers. In some cases you are dealing with cast shadows, but far to the left side, that appears to just be the local colour of that surface.

Aside from that, your work is coming along well. I'll go ahead and mark this lesson as complete.