Starting with your arrows, you're doing a great job of drawing them such that they flow smoothly and fluidly through space, and are also doing a good job of showing how the spacing between the zigzagging sections compresses, with a proper use of foreshortening applied to that negative space. Well done.

For the most part you're also doing a good job of applying that sense of flow and fluidity to your leaves, capturing a strong sense of how they not only sit within the space they occupy, but also how they move through it. I can see a number of places where you're playing with more complex wavy edges, and for the most part you do build them atop the simpler edge, sticking to it tightly. That said, I believe you're still drawing these wavy edges with a single stroke. Instead, you should be drawing each little section with a separate mark, each one coming off the simple edge and then returning to it, as shown in the diagram here.

Additionally, when drawing more complex leaves (like those with separate arms that need to be built up with more steps), it's always helpful to draw them bigger on the page. I can see here that you were highly interested in packing in as many leaves as you could. That's admirable, but keep in mind that our brains benefit considerably from being given more room to think through these kinds of spatial problems. Since you were left with far less space, the linework ended up being somewhat clumsy and imprecise, resulting in a sense of looseness in some places.

For your branches, your work here is largely well done. I have just one suggestion as you move forwards to help diminish the appearance of those visible "tails" where you get two different segments transitioning from one to the other. The key here is to make sure that when you draw your next segment, you use the previous one as a runway, overlapping it directly before shooting off towards the next target. This forces you to use the trajectory of the last one, rather than drawing your next mark where the last one ought to have been. If we're allowed to ignore the mistake in the previous one, there's no real subconscious motivation to learn from the mistake. This way, however, a problem will impact our subsequent decisions, and so we're pushed to do it better each time. You can see this demonstrated here.

Also, as a more minor note - for now, try to keep the width of your branches consistent throughout the whole length. Don't worry about foreshortening, making one end smaller and the other bigger. Keeping a more consistent width will help you, for the time being, maintain the illusion of solidity of the form.

Moving forwards, I think ti's very clear that you're doing an excellent job throughout these plant constructions. You're constructing the leaves and petals such that they flow fluidly and believably, you've established strong relationships between all your forms, especially in the mushrooms, and you're largely approaching texture with a mindfulness towards the forms that are present along the surface of your forms, considering the shadows they cast on their surroundings.

In regards to the texture, there's one thing I want to suggest. Right now I'm seeing a tendency to draw your texture with a lot of "lines" rather than "shapes". In many cases this is totally acceptable and makes sense - like the texture of the underside of some of your mushrooms that have a lot of ridges. It is however a bit dangerous, because it can make us more susceptible to using hatching lines, which are a gateway to focusing more on form shading, which as mentioned back in lesson 2, we don't want to use within these lessons. One solution is to purposely draw each and every textural mark as is shown here. This two step process forces us to think of each mark as an enclosed shape, which can expand and fuse with neighbouring shapes as texture is more likely to do. When we draw our texture with lines, it becomes much more difficult to let them expand without creating new shadow shapes that don't actually exist in the drawing. Using this technique should help you focus more the shadows, rather than on the lines.

Aside from that, your work here is exceptionally well done, and you're demonstrating strong spatial reasoning skills throughout. I'll go ahead and mark this lesson as complete, so keep up the great work.