Starting with your arrows, I'm very pleased with how confidently your markmaking is executed here. It does a great job of pushing the sense of fluidity of the arrows themselves. Just remember that when it comes to adding line weight (which I assume is what you're trying to do where your lines double up), just focus that line weight where overlaps occur between your forms (like where the ribbon turns back over itself). No need to go along the whole length of the given line.

Moving onto your leaves, while you're doing a good job of drawing these marks confidently and capturing how they move through space as a result, you take that confidence and push it into the territory of being a little sloppy at times. Remember that every mark you draw should be executed confidently, true, but as part of the use of the ghosting method. That means you still need to invest time into the planning and preparation phases first, to reinforce your marks with control, despite their confidence. Here it seems you haven't done that as much as you should have.

That's really the only issue - you are following the steps of construction well (building edge detail onto the existing structure, and breaking down the constructional process as needed to tackle more complex leaf structures), but because your markmaking is more rushed, you're ending up with larger gaps and looser relationships between the various phases of construction. It's important, for example, to ensure that the simple edges you draw in step 2 end where the flow line from step 1 did, rather than leaving a considerable gap between where both phases end. You also need to make sure that when you add edge detail, it comes off the previously existing edge, and returns to it as an extension of that silhouette - rather than a line that's simply been added in its vicinity. All in all, slow down and give the planning/preparation phases for each mark more of your time, and you'll nail this quite well.

Moving onto your branches, your work here is once again following the steps quite well. One recommendation I have is to try to use the last 'tail' of each segment as the runway for the next one, overlapping it directly before shooting off to the next target (instead of drawing where the previous segment ought to have been. You can see this process demonstrated in this diagram.

Moving onto your plant constructions, I honestly feel you have indeed slowed down a little and have put more time into those initial phases of the ghosting method. It's still not perfect, but you are demonstrating more control and more consideration to how all of the different pieces fit together in a strict, specific manner to produce and maintain the illusion of solidity. Overall you're doing a better job of constructing simple leaves like on this page.

One thing I do want to warn you against, however, is that when you get into more complex edge detail for your leaves (like on this one and this one you have a habit of redrawing the edge in its entirety, often doing so with a darker, heavier stroke that appears like a complete replacement of what was there previously from the previous phase. Remember that edge detail is built upon the existing structure - the marks we draw are not replacements, but rather bit by bit we're adding onto the silhouette of the flat structure, or cutting back into it as if with scissors. You should avoid trying to draw a single continuous edge back and forth to create a whole new path all at once, as explained here.

Also worth mentioning, when drawing leaves and flower petals, we definitely take advantage of the ability to simply modify and adjust the silhouettes of these forms even after we've drawn them. This is actually something that would normally flatten out a given structure - but since these leaves and petals are already flat, it doesn't have a negative impact. When dealing with more voluminous structures that have more dimension to them (like your cactuses, or the thing sticking out of the middle of this flower), simply altering the silhouette is no longer an option, if we want to maintain the illusion that it's a 3D structure with depth to it.

This isn't really a big deal in the context of this lesson, but because it ends up being more relevant in the next lesson, I do have an explanation of this issue and how to work around it here.

Anyway, all in all you will certainly benefit from continuing to take more time in the planning and preparation phases of your constructions, but you have definitely moved in the right direction here and have done quite well. I'll go ahead and mark this lesson as complete.