Starting with your arrows, these are drawn with a pretty good sense of confidence and fluidity overall, although there are a few points where your linework gets a little more stiff and hesitant. Always remember to draw these flowing marks from your shoulder, and do so with confidence (after using the ghosting method) to keep them as smooth as possible.

Now while your leaves are still flowing decently, they are a little more stiff than your arrows, which suggests that as you've transitioned into drawing something more concrete and real, you've gotten a little more focused on drawing the object precisely as you see it, than trying to capture and communicate what it actually is. Leaves, for example, are very thin and light, so they tend to be representative of the forces that are applied to them, moving through space with the wind. That is the impression we want to capture here - the same kind of fluidity we see in the arrows. One thing that can help to exaggerate this is to actually put a little arrow head at the end of the flow line to remind yourself of how that one line at the start defines precisely how this leaf is meant to move through the world.

One thing I do want to call out as well is that when it comes to the details, you've pretty much set aside the principles covered in Lesson 2's texture section. Instead of focusing on implicit drawing techniques (drawing the shadows those textural forms cast), you've fallen back to either using outlines to draw the forms in their entirety, or have used actual lines to represent things like the leaf's veins. I can see a few examples where you did try to draw the lines themselves as though they were the shadows, which is definitely a move in the right direciton, but one thing that will help a great deal is forcing yourself to draw all your textural marks using this two step process. This will force you to draw them all as actual shadow shapes.

Moving onto your branches, I suspect that you may have misinterpreted or misunderstood some of the instructions. As you'll see in these notes, you are to draw a segment from one ellipse, past the second and halfway to the third. then the next segment is drawn from the second ellipse, past the third and halfway to the fourth. This results in a healthy overlap between the segments, which is very important to help maintain a smoother, more seamless transition from one to the next. I'm noticing a number of cases where your edge segments aren't extended fully halfway to the next ellipse - instead they stop much sooner.

Additionally, one thing that will help with this exercise is to try and keep the branches' width consistent throughout their length. I know you're trying to capture an impression of perspective and foreshortening here, with having them get bigger as they near the viewer - but more dramatic foreshortening is generally seen in objects that are very large, or very close to the viewer's eye. When it comes to forms like this, they're not going to have much foreshortening in realistic situations, given the scale at which branches and stems exist.

Moving onto your plant constructions, there are a handful of things I want to point out, although at its core you are definitely doing a decent job of approaching this lesson. The issues I'll list however do certainly have an impact on what you're prioritizing in your drawings, and so I'll be calling out a few places where you're allowing certain things to distract you from the core of the lesson. This should help you improve your overall results.

The first thing that stood out to me immediately was just how heavy handed you are with line weight, especially early on. This isn't something that persists right to the end, but it is still worth calling out. In this drawing and this one, you've gone all the way around many of your forms' silhouettes with a lot of heavy line weight, and I suspect that you might be getting into the territory of confusing line weight with cast shadows.

They're similar in their use, but they have distinctly different requirements and characteristics. Line weight is subtle - it's something that speaks to the subconscious, so you're not going to see really big changes in thickness. You shouldn't be adding line weight with a different pen, just going back over your lines with the same one to add a little variation in key localized areas to help clarify how one form overlaps another.

Cast shadows on the other hand cannot simply wrap around the silhouette of a form like line weight can. It has to be cast onto a separate form. Cast shadows can be much broader and heavier as well. When drawing these, it's best to define the outline of the shadow shape first, then fill it in. You can fill it in with a brush pen or something thicker - but that's really the only use you'll have for any other pen than the one recommended for the lesson.

So, long story short - where you've got a lot of really thick lines around the silhouette of your forms, they should be much thinner and lighter.

Taking that a little bit further, you should be reserving all of your filled areas of solid black for cast shadows only. This means that every such filled shape should actually have a clear relationship to the form that is casting it, and you should not simply be filling in spaces (like in this plant). Also, when you see a pattern like on this one, ignore it. We're focusing primarily on capturing things that exist in 3D space - be it large constructed forms, or smaller textural forms, they are all things we can touch with our hands. When it comes to the local surface colour of our objects, just treat them like they're the same solid white.

The next issue I want to point out is that you do have a tendency to draw your construction lines more faintly, and then attempt to replace the linework with a heavier clean up pass. This is not an approach I want you to use in this course. Drawabox's lessons have you drawing a lot of different kinds of things, but each drawing is itself an exercise in spatial reasoning. The goal is not to end up with a nice, clean drawing, so you should not be down playing the construction, and you should definitely not be tracing back over your construction lines to replace them with cleaner marks. Tracing itself tends to focus too much on how you're following these lines on a flat page, and they tend to ignore how those marks flow through space, causing us to unintentionally flatten out our results.

Now, coming off that same point, remember that construction itself is a matter of building up from simple to complex. You do not replace nor redraw the entire thing in every constructional step. Instead, as shown here on another student's work, you should only be drawing the parts that change between stages.

As you progress through the homework, I definitely think your overall grasp of construction improves quite a bit, and I'm quite pleased with some of the later ones. The whole underdrawing/clean-up pass approach you're using however is kind of getting in the way, and it is something I want you to address before we can move forwards. As such, I'm going to assign a couple additional pages of revision below.