Starting with your arrows, these capture a strong sense of motion and fluidity that carries over somewhat to your leaves, although not quite as much as it could. While your leaves are by no means stiff or rigid, they don't quite convey the same sense of movement as your arrows. This is not uncommon - it's pretty normal for students to get a touch more hesitant when they have to start thinking about drawing solid, tangible objects, and even moreso when those objects are more complex. As a result some of your simpler leaves tend to flow fairly well, whereas the more complex ones show less consideration put towards the initial flow lines and how those lines are meant to move through the world.

Construction breaks the process of drawing into a series of different stages, each with its own responsibilities and focuses, so we can allow ourselves to only worry about one thing at a time. So, when establishing the flow line of a leaf, your only focus should be on capturing how that line moves through three dimensions of space, and does so with a sense of fluidity and motion. One thing that can help with that is to add a little arrow head at its tip, as this has shown to help link the idea of this part of the process with the arrow exercise. At this stage, don't worry about how complex the object might ultimately need to get - focus only on the one thing you're doing now.

Aside from that, I do think you're applying construction fairly well. You're building upon previous phases, adhering tightly to the edges established instead of drawing more loosely and re-answering problems that have already been solved.

Moving onto your branches exercise, you've got a few different kinds of results here. Towards the upper left you follow the instructions fairly well, but towards the bottom right you tend to get a bit sloppy, not quite extending your lines fully halfway towards the next ellipse, resulting in less and less of an overlap between the segments. That overlap is important, as it allows the segments to flow smoothly and seamlessly from one to the other, as shown here. This is also something that will help with those visible 'tails' where your segments separate - to purposely have the second stroke use the first as a runway before shooting off towards its next target.

Moving onto your plant constructions, these are for the most part quite well done, although there are a couple small things that I want to address.

Firstly, on your money plant, two things. As mentioned before, I think here when your plants get more complex and involved, you tend to spend less time on the individual parts. This is an issue that I actually mention back in Lesson 1, in the notes for the ghosted planes exercise. To put it simply, we have a tendency to decide how much time we're going to put into a particular thing - a line, a shape, etc. based on what percentage of the whole drawing it constitutes on its own. If it's 100% of the drawing, then that one line's gonna get a lot of our attention, but if it's 1% of the whole thing, then it's going to get a lot less. This mindset is wrong however - we need to make sure we put the time to execute each and every mark to the best of our ability, focusing on what purpose it is meant to serve, and how it can best do so. In this plant, the individual petals were drawn pretty loosely, but I strongly believe that you could have executed them better had you merely invested a little more time.

The second thing is very minor - just make sure that when you draw anything cylindrical, like most vases and flower pots, that you do so around a central minor axis line to help keep those ellipses aligned to one another.

It's worth mentioning that you do indeed have some drawings that I believe are quite complex, but did receive an adequate amount of investment into each individual component. For example, the honeysucke appeared to be quite well constructed.

Getting further into the set, I want to talk about how you approach detail and texture, especially in the last drawing (the strawberry). Here I think you got a little caught up in adding detail as basically decoration, with the purpose being to take the drawing and make it pretty and impressive. It's important to understand what precisely we're attempting to do with every stage of a drawing, so that we can focus our efforts in a particular direction.

With construction, what we're trying to do is to convey a sense of how the object itself occupies space and how its various pieces relate to one another, so the viewer understands what it'd be like to manipulate that object in their hands. With texture, we're conveying the information needed to understand what it'd feel like for the viewer to run their fingers over the object's various surfaces.

For this reason, we're not concerned with general shading and rendering (of which you applied a lot in this drawing, though back in lesson 2 we discussed the fact that shading wouldn't be used throughout these lessons). Instead, we want to focus entirely on implying those surface textures using cast shadow shapes only, and only in the quantity that is really needed to get the idea across. This often times is much less than you'd think - we don't need to detail it perfectly to replicate the reference image - just enough for the viewer to get the jist of what's there, leaving the rest to them to fill in the blanks.

All in all your work throughout this lesson is indeed coming along well, so just keep the points I've raised here in mind as you continue on. I'll go ahead and mark this lesson as complete.