Starting with your arrows, your initial linework is done pretty well here - you're drawing the arrows with a good deal of confidence, which helps establish how they flow through space - but when you add line weight, you have a tendency to get quite scratchy and hesitant. Try to reserve your line weight only for the areas where you need to clarify how things overlap (so right where the ribbon zigzags, folding back over itself), and be sure to always execute that line weight the same way you would any other mark - with confidence, from your shoulder, and using the ghosting method - even though this may interfere with your accuracy a little.

Continuing onto your leaves, as a whole these are certainly coming along pretty well. You're doing a good job of carrying over that initial fluidity from your arrows to capture not only how these leaves sit statically in space, but also how they move through the space they occupy. You're also doing an excellent job of building up your more complex edge detail bit by bit. I noticed that you did seem to draw a continuous stroke all the way around the bay leaf, which falls into the category of zigzagging edge detail back and forth but the rest of these have definitely come along quite well. Just remember - there's no need to make your successive phases of construction darker. Stick to the same general weight/line thickness, and add line weight as its own separate pass at the end to clarify those overlaps.

At first I thought that you might have forgotten to do the branches exercise - but on second glance, it seems you may have misunderstood the exercise a little, and taken it in a different direction. Here you've drawn "branching plants" - the exercise itself was to create your own simple branch structures (mostly focusing on simple tubes, and only moving into actual forking branches when you were more comfortable). From what I can see, you're kind of inconsistent in applying the actual branch exercise technique (which as explained here should result in the different segments overlapping each other a fair bit, to help produce a smoother, more seamless transition. I'm noticing a few cases where you're having one segment start where the previous one ends, resulting in more sudden, jerky transitions between segments.

Moving onto your plant constructions, these are mostly well done, with a few small points I want to call out:

• Throughout this course, try to avoid splitting your pages down the middle as you've done here, or anything that preallocates a smaller region of space to a drawing, and avoid planning ahead of time to fit multiple drawings to a page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

• For your clovers, you skipped a minor step in the construction of those petals - always start out simple and add complexity in stages, as shown here.

• I also noticed that you were either trying to use cast shadows or line weight here, but did so in a somewhat inconsistent manner. Remember that line weight should be focused on the areas where different forms overlap one another, as shown here with these overlapping leaves. Keep the line weight subtle, like a whisper to the viewer's subconscious. Cast shadows on the other hand don't need to be subtle - they can be dark and heavy and broad, but they are subject to a single consistent light source - so you can't have them cast in all directions across your drawing. You also need to make sure that the cast shadows fall on an existing surface, rather than clinging to the silhouette of the form that casts them.

• I called this out before, but in a few of these plant constructions - like this one and this one, rather than building on top of the simple leaf structure, you draw it very faintly with the intention of replacing it by redrawing a more complex form of the whole leaf, with more waviness to its edges. This is incorrect - construction is about building up the whole structure step by step, only adding the parts that change from one phase to another. Zigzagging lines back and forth across the previous phase of construction results in a weaker relationship between those phases, which means that you don't carry the simpler structure's solidity forward as effectively. Instead, have every single adjustment to the silhouette come off the existing structure, and return to it, always being sure to carry that simple structure forward through your construction, not abandoning it as something you'd rather be able to erase when you're done. Every step is part of the final construction, as you can see here.

You do have a number of things to work on - especially when it comes to working through the branches exercise correctly, but I feel these are all things you can continue to work on yourself. The work you've submitted here is good enough for you to move forwards, so there's no sense holding you back. Just be sure to keep these points in mind.