Whew! Sorry for the complications before in getting your work submitted - though fortunately, it didn't actually delay anything, as I spent all of yesterday making OGMA pages and left my critiques for today. I think this'll be my last critique for the day.

Alrighty! So, starting with your arrows exercise - where's your arrow exercise?! The first assignment of this lesson was one page of the arrows from lesson 2, so you either missed that or actually did it and simply forgot to include it in all the confusion. Either way, it's not that big of a deal, so I'll let it slide this time.

Moving onto the leaves exercise, these are largely well done save for one point. For the most part you're doing a good job of adhering to the previous phase of construction when building up the complexity in successive steps, but when it comes to adding wavy edges to your leaf, you end up breaking this rule of markmaking from back in lesson 1. Basically it means you must draw each segment of the wave as a separate stroke - rising off the previous silhouette of your leaf shape, and then coming back down to it. Then another stroke would repeat this for the next part of the wave. In the context of this exercise, this is demonstrated in this section. Also, as shown there, try not to zigzag around the simpler edge - let that edge define either the maximum or minimum, and stay on one side of it.

For your branches exercise, you've done a pretty solid job here. There are definitely some where you have more visible tails, but towards the far left you did an excellent job of achieving the illusion that the branch is made up of a single fluid line, despite being made up of several separate segments. It's actually quite difficult to pull off (which is why you struggled with it, having little segments flying off track), but you're definitely improving on this. One key thing to keep in mind when doing it in the future is that if you force yourself to use the last chunk of the previous segment as a runway when drawing the next segment - that is, overlapping it directly and following it until shooting off towards your next target, this will help as it will force you to use the trajectory of that last one, instead of just ignoring it.

Moving onto your plant constructions, you've demonstrated the capacity to apply the steps in the instructions, to capture forms that feel solid within the same space, and to combine them in such a way that they feel cohesive and consistent, creating a tangible, believable object.

One issue I did notice though was that in some of these, you have more of a tendency to cramp up and get really small - like your lily pad and honeysuckle, which took up maybe half of the space available on the page. The lilypad was definitely one that could easily have been drawn larger. For things like the honeysuckle, you may want to focus in on a specific party of the plant so you can scale it up and really get into the nitty-gritty of the relationships between the forms there. I am glad that this wasn't always a problem - you've got plenty of drawings where you've really expanded into the whole page and properly explored the full extent of your construction.

So I did notice that same zigzagging edge issue in this plant, so again - remember that you only want each segment to constitute an individual, small feature, and that whenever it repeats, you start a new stroke. This is especially useful because it forces you to draw each one individually. When we start falling into a rhythm and a pattern, it's very easy to go into auto-pilot, which keeps us from purposely designing each and every stroke. It can also make us forget how such an edge might be moving through the depth of the scene - after all, if the rippling edge remains spaced out evenly even if the edge it follows moves farther away, it can flatten out our drawing and break the illusion that it's three dimensional.

Lastly, I can definitely see that your snapdragon didn't actually come out how you'd hoped - but what's important is that you did experiment with a few different approaches, and you reflected upon how they turned out. This is, in fact, a great thing - and even though the drawing didn't come out super well, it did show that you're approaching the problem in an analytical fashion, not getting caught up in your results and treating everything as an opportunity to learn.

So! I'll go ahead and mark this lesson as complete. Keep up the fantastic work.