Starting with your arrows, these are done fairly decently, but there are a few considerations I want you to keep in mind moving forward:

• Try to avoid the sort of repetition of drawing entirely identical instances of an exercise. Here, for the most part, you basically drew the same kind of arrow repeatedly, rather than experimenting with how they might flow through space in different ways.

• Confidence is key - you're doing a decent job of keeping your linework smooth, but I do see signs of slight hesitation as you execute the marks. Focus on making nice, bold marks coming all the way back from the shoulder, with a sort of sweeping motion.

• Draw each arrow in its entirety - avoid having the lines suddenly stop where they get overlapped by another arrow on the page. Completely closing your shapes is the first step to making them feel 3D.

• When we add line weight, it serves a specific purpose - to clarify specific overlaps between forms or parts of forms in 3D space. So in the case of the arrows, it'd be appropriate to add line weight where the arrow turns (resulting in an overlap). It looks like you put that line weight elsewhere, for some reason, focusing it more on the straight-aways rather than the turns.

• Also remember that line weight, as with all marks, should be drawn confidently, using the ghosting method, and should avoid hesitation.

Moving onto your leaves, I think you've done a much better job here of capturing a sense of motion and fluidity. While I appreciate the enthusiasm of drawing as many leaves as you did, I do want to stress the fact that drawing bigger on the page is more important. When we artificially restrict the scale of our drawing to fit lots of them on the page, we end up limiting our brain's ability to think through spatial problems, and also make it harder to engage our whole arm while drawing. Your initial constructions didn't suffer too much from this, but I suspect that when you got into more complex detail, it did end up being more of a concern, resulting in clumsier additions to the basic leaf shapes.

I also noticed a generally arbitrary use of line weight once again. Remember that line weight should not be used to arbitrarily reinforce the whole silhouette of a form, and it definitely shouldn't be used as an opportunity to correct a mistake. The only purpose it serves is to clarify overlaps in limited, localized areas.

All in all it looks like you're approaching building up that more complex edge detail correctly, in that you're building it upon the previous existing structure. Just keep the points I raised previously in mind.

Your branches look to be coming along pretty nicely, though again- don't just draw the same configuration over and over. Also, make sure you're extending those edge segments fully halfway to the next ellipse - you seem to be falling a bit short with that in a few occasions. As explained here, that healthy overlap helps us achieve a smoother, more seamless transition from one segment to the next.

Continuing onto your plant constructions, for the most part you're doing a pretty good job - the main issues I'm seeing are ones I've addressed already, but I'll point them out quickly in turn.

• With this flower, I think you approached the construction in an entire valid way. I believe this is the one you were referring to as your first flower - creating a sort of straight-cut ribbon is definitely a little unique compared to the usual leaf construction process, but creating that rectangular edge and then building the little triangular bits on top is fine. Just avoid zigzagging as you did here. You should be drawing each individual triangle separately, as explained here.

• You've still got a lot of really random use of line weight. Make sure you specifically focus it only on clarifying overlaps, and not on just arbitrarily reinforcing the silhouette of your forms. Additionally, keep your use of line weight subtle. Avoid really big, heavy edges. It's meant to be a sort of whisper to the viewer's subconscious, rather than a shout.

• Your petal construction here is fantastic - very fluid and smooth.

• You built up the edge detail on this one correctly for the most part, but were kind of sloppy about it. Each bump should be a separate mark, and you should be more mindful of having them flow smoothly and seamlessly off the main structure's edge, and return to it as such as well. Don't give yourself little tails like this, you want to maintain a consistent path for the silhouette of the structure.

• For this mushroom, the main issue with those chunks along the cap is that Lesson 2's texture section explains capturing textural detail purely by drawing the shadows those forms cast on their surroundings. Rather than capturing cast shadows, you outlined each form (defining them explicitly instead of implicitly), then drew internal form shading for those forms - that is, you tried to make the sides that face away from the light source darker. Basically it was just a swing and a miss. In the future, focus on not outlining your textural forms, and not using any form shading. Focus only on the shadow the form would cast. That is definitely more challenging, because it requires you to think about how each individual textural form exists in space without first actually drawing it. So what's being asked of you is certainly not easy, but make sure you know what you're attempting to do at every step of the process. It's one thing to attempt the correct approach and then mess it up, and something entirely different to attempt the wrong approach in the first place. I'd recommend going back over the texture section again if the difference between cast shadows and form shading/outlines is still unclear.

Aside from those points, you are doing fairly well. You've got some things to work on, but I'm still happy marking this lesson as complete.