As a whole, your work here is vastly better than the first attempt. Not to say that your previous attempt was ugly - it was actually quite beautiful - but of course, we've been over all that. What's important here is that you've definitely stuck more closely to the principles of the course, and to great effect.

Starting with your arrows, you've drawn them with a great deal of confidence, which really helps to push the sense of fluidity with which they move through the world. There are a few places where I see a bit more hesitation (like here we can see the line quality drop) but as a whole you're doing great on this front, and these are really just minor nitpicks. That confidence carries forward into your leaves, where you're capturing not only how they sit statically in 3D space, but also how they move through the space they occupy.

There's just one main issue to keep in mind - when you add edge detail to the two leaves along the bottom of the page, you end up zigzagging that edge detail quite a bit, effectively redrawing the entirety of that existing edge, rather than building onto it as you had in previous cases. As explained here, that is very much something to avoid. I also noticed some places where your edge detail added more complexity all at once than could reasonably be supported in one step - in such cases, you'll want to build up to it in successive stages, as shown here on another student's work.

Continuing onto your branches, there are some issues here that you will need to keep an eye on, but as a whole you're still doing well. It comes down to the manner in which the edges themselves are laid out. As explained here in the instructions, we have each one start from an ellipse, continue past a second, and stop halfway to the third ellipse. The following edge segment then starts at the second ellipse and repeats the pattern. This results in a healthy overlap between them which in turn provides the foundation for a smoother, more seamless transition between them.

You are frequently limiting just how much those edges extend, having them go just a little past the second ellipse, falling far short of the halfway mark. There are also some places where you start your next segment further down, again reducing the overlap.

While the points I raised above are certainly still present in your plant constructions (especially the zigzagging of edge detail), you continue to do a good job overall of maintaining the principles of construction. I really only have one overall point to call out, and it has to do with detail and texture.

As you get into the detail phase of construction, your desire to produce pretty pictures definitely rears its head, and it does still have some conflict with what we're doing here. You shift gears to focusing on decoration, effectively doing what you can to make your drawings appear more visually pleasing. Decoration is, however, not a very clear goal to pursue - there's no specific point at which one has added enough decoration, which makes it somewhat unsuitable for the structured way in which we're tackling things here.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

I would recommend reviewing these reminders from Lesson 2's texture section, just to help direct you a little better when you get into detail. You'll also find that as far as your homework for this course goes, it'll probably save you some time.

And with that, I'll go ahead and mark this lesson as complete.