Starting with your arrows, these are drawn with a lot of confidence and fluidity. Just take more care in adding your line weight - you shouldn't be drawing so many marks repeatedly. Apply the ghosting method, plan, prepare, and then execute a single additional stroke to clarify the overlaps in a specific, localized area. It seems you're going back over a lot more than you need to be.

Moving onto your leaves, that fluidity from your arrows carries over nicely here, capturing not only how the leaves sit in space, but also how they move through the space they occupy. Again - the line weight is a bit of an issue, in that you're just a little too liberal in its use. Remember that like everything, line weight is just another tool, and it has a specific purpose: to clarify how specific forms overlap. It does this not by being traced back over the entirety of a form's silhouette, but by being focused in a smaller area, where that overlap occurs.

When it comes to building up more complex edge detail, you did a good job of it in your first page, building each little bump off the existing structure rather than attempting to zigzag a singular stroke or replace the existing linework entirely. You do get a little more zigzaggy in one leaf on the second page, though, so keep an eye on that and be sure to review these notes.

Finally, your work on the branches exercise is a bit mixed. From what I can see, there are areas where you are applying the technique correctly, extending your segments fully halfway to the next ellipse and starting the next segment at the previous ellipse (resulting in a healthy overlap between them), but more often you seem to severely limit that overlap, creating notable breaks in your flow. As explained here, those overlaps are really important to keep things smooth and seamless.

Moving onto your plant constructions, it seems to be kind of mixed once again. The first thing that jumped out at me was how in this drawing you had an extremely loose, explorative under-drawing, on top of which you drew marks to which you were more committed with a darker stroke. That unfortunately is not an approach you should be using in this course - as soon as you put a mark down on the page, that is an answer to a question. You cannot ignore it, or cut back across it, otherwise you end up with glaring contradictions in your drawing where different elements exist in the same space, but suggest entirely different structures.

You handle construction much better in many of the other drawings however, and this kind of looser approach appears not to be the trend. You continue to handle the flow of your petals and leaves well, although I see a lot of cases where you add additional lines, appearing to try and capture the textural ridges of your petals as seen here. Remember that as discussed back in lesson 2, all texture should be captured implicitly, using cast shadow shapes. To do this, be sure to outline your cast shadow shapes, then fill them in - employing that two step process for every textural mark you draw to keep you from the temptation of just drawing individual, arbitrary lines.

In the case of this page, one thing to be aware of is the impact that drawing small has on us as we draw. It can notably diminish our brain's capacity to think through spatial problems, and also makes it harder to engage our whole arm while drawing, especially as a beginner. Often students will draw smaller because they're not confident, and they're trying to figure something out, but in doing so they actually make it harder for them to solve that problem. Always aim to give each drawing as much room as it requires on the page - don't worry about packing a ton into a single sheet. If there's enough room left over after the drawing's done, definitely add another, but don't prioritize having lots of drawings on a page ahead of time.

Aside from those points, I do think you're generally doing well, though things are a bit rough at times. I'll go ahead and mark this lesson as complete, so you can continue to work on the points I've raised here in the next one.