Starting with your arrows, you've done a pretty good job of drawing them with a strong sense of confidence and fluidity. Keep in mind however that the gaps between those zigzagging sections need to get smaller as they move away from the viewer in order to properly show the depth of the scene, as that negative space is still subject to foreshortening and perspective (as shown here).

Moving onto the organic forms with contour lines, I did notice that while you overall focused on simplicity, you didn't entirely adhere to the characteristics of simple sausages mentioned in the instructions. This is important because sticking to two equally sized spheres connected by a tube of consistent width is critical to making those forms feel as solid as possible, which will be important when we use them as the basic components to more complex constructions later on.

You have done a pretty good job with the contour lines themselves - drawing them fairly confidently and fitting them snugly between the edges of the form. In the contour curves you're also demonstrating a general awareness of how the width/degree of your contour curves shifts narrower or wider as we slide along the length of a given form, although I'm not seeing this in your contour ellipses quite as much.

Continuing onto the texture analyses, you're off to a pretty good start with these. You're clearly focusing on shadow shapes rather than lines, and you're using them to control the density from one end of the gradient to the other. There are two areas in which you can improve here however:

• First off, notice how the bar on the far left side jumps suddenly into the texture. The intent of this exercise is to blend that bar in so its edge is no longer discernible. You can achieve this simply by pushing the density of the far left of your texture as much farther. Right now I'd say your left side hits maybe 50% density and then jumps to 100%. The more you can increase the density on that end, the smoother the transition will be.

• Right now your shadow shapes are a bit rough and hairy. You can solve this by drawing all of your textural shapes using this two-step method, outlining them first, then filling them in. This will help keep them clean, and will also keep you from slipping back into drawing textural marks as basic lines (which you fortunately haven't done for this exercise at all).

Moving onto your dissections, there are a few suggestions I have here as well:

• First and foremost, where you definitely leveraged a lot more observation in your texture analysis exercise, you did so much less here. It's important that you not only spend a lot of time looking at your reference, but that you do so frequently, only looking away from it long enough to transfer a specific piece of information. This will help you avoid the traps of oversimplifying from working from your memory, rather than what is actually there in your reference.

• I can see you slipping back to relying on outlines more here, though you tend to drift back and forth. The two-step method I linked above can help with this as well, since it basically forces you to fill in any outlined shape you create (making it impossible for you to just outline a form and leave it be).

Overall you're moving in the right direction here, but pushing your observation more will help a great deal. Right now the textures tend to be very simple and cartoonish, which comes from that over-reliance on your memory. You can read more about this pitfall in this section of the lesson.

Moving onto your form intersections, when it comes to the first part of the exercise, I think you've done an excellent job of drawing your forms with smooth, solid linework, which has helped them feel solid and cohesive within the same space. That is the main focus of the exercise, but there is a secondary one where you didn't have nearly as much success.

The intersections themselves are something we're just introducing students to at this point, purely to get them to start thinking about how the forms they're drawing relate to one another in 3D space, and how they can define those relationships on the page. We by no means expect students to do this correctly just yet, but we want to introduce it here so they can continue to think about it as we explore this topic throughout the rest of the course.

Unfortunately, what you did here doesn't really constitute an attempt at the intersections. All you did was fill the areas where the forms overlapped on the page (in two dimensions) with red hatching. As you can see here, what you're meant to try to do is draw the contour lines - that is the lines that run along the surface of the forms - that define how they're actually intersecting/connecting with one another.

Since students have a lot of trouble with this (being that it's very difficult - again, we don't expect students to do it correctly, just to try), it's not uncommon for students to skip it entirely. But it really is critical that the attempt be made.

Lastly, your organic intersections are coming along pretty well. You're establishing how these forms interact with one another in 3D space, rather than as shapes on a flat page, and you're developing a good illusion of gravity in how they slump and sag over one another. Do however ensure that you try and stick to simple sausage forms in the future - you've got a couple that kind of flatten out.

Before I mark this lesson as complete, I'm going to assign a couple additional pages of form intersections below for you to take another swing at making that attempt.