Starting with your arrows, from what I can see, we can break these down into two elements:

• The original linework, which was drawn confidently and fluidly, and captures a good sense of the overall motion of the arrow.

• The line weight you then tried to add on top, tracing hesitantly and carefully, which effectively undid the first point. The strokes you added for line weight ended up wobbling due to your hesitation, and that effectively changes the linework that existed beneath it. In general, this is something you should avoid with line weight. Instead, we use line weight only in specific, limited, localized areas to clarify particular overlaps between forms - like where the ribbon bends back over itself. Keeping it localized in this way also makes it easier to employ the ghosting method and execute the marks with confidence, which eliminates the wobbles and also makes the stroke taper on its ends, blending in more seamlessly with the original linework.

As side note, when you add hatching at the bends in your ribbon, make sure the hatching goes from edge to edge rather than stopping at some arbitrary distance.

Moving onto your leaves, that initial confidence of your arrows carries over fairly nicely here as well, where you've done a good job of capturing not only how those leaves sit statically in space, but also how they move through the space they occupy. You're also handling both the addition of more complex edge detail and the building up of more complex leaf structures well, with a lot of respect for how the constructional approach involves building directly on the previous phase of construction, and achieving greater complexity step by step.

Continuing onto the branches, you may not have understood the instructions here. As explained here, you draw each segment from one ellipse, past the second, stopping halfway to the third. This means each segment starts at an ellipse, allowing for a healthy overlap between them, and a smoother and more seamless transition. Since you're ending up with a more limited overlap, the transitions are more sudden.

Looking at your plant constructions, what jumps out most of all is basically what I already addressed with the arrows - you're using line weight far too liberally. Line weight is a tool, and by reserving it for a specific purpose - clarifying overlaps between forms as shown here - we can ensure that we're communicating more clearly with the viewer at all times.

Aside from that, I think you're handling the overall construction of your plants fairly well, save for a couple little issues:

• In your sunflower, you've got leaves like this one which jump into a greater level of complexity too early. Instead, you should be starting with a simple leaf structure, then cutting back into it to add whatever additional complexity is necessary.

• In your corpse flower, you similarly jump into way too much complexity, way too soon. Remember - construction is all about taking a complex problem and breaking it down into a bunch of smaller, individual problems that can be solved one at a time. In this case, starting with an ellipse for the outer extent of those side petals was a good call (although you should be drawing through all of your ellipses two full times before lifting your pen as discussed back in lesson 1). What you did, however, was to use that ellipse as a sort of general suggestion - but instead, it should be treated like a solid structure that is present in the world. You create your petals' edge by cutting back into the ellipse. Here's a quick demonstration of the concept, though not from any particular reference.

Other than those, you're doing well. You're showing a willingness to build up your constructions in a step by step manner, you're drawing through your forms to better understand how they exist in relation to one another, and you're generally maintaining a strong sense of solidity. You just need to ease up on that line weight, and make sure that every mark you draw is executed with confidence to avoid wobbling/stiffness.

I'll go ahead and mark this lesson as complete.