Starting with your organic arrows, you're doing a pretty solid job of capturing how these forms move through space in a fluid, flowing manner. One thing I did notice however was that a couple of these - mostly the top left arrow on both pages - tend to have really tight turns where they zigzag back and forth. This makes sense further back in the arrow, as space is much more compressed there (due to perspective), but as the arrow gets closer to the viewer, there's going to be a more gradual curve as it moves through space.

Moving onto your organic forms with contour lines, the first thing that jumps out at me is that you're not quite adhering to the characteristics of [simple sausages as described in the instructions](). I think you're making an effort to do so, but are missing a couple important things. Basically, your sausages tend to swell right into the midsection - we want ours to remain entirely consistent in width through the whole length of the form, capping off with two circular/spherical ends. Along with getting wider through the midsection, often times your ends tend to be more stretched out rather than circular - I think both these problems go hand in hand, so I believe squishing down that midsection will help resolve the ends as well.

Your contour ellipses are coming along okay, although there is a tendency to stiffen up and hesitate somewhat as you draw them, resulting in ends that are more pointed than they should be. This often happens if we hesitate while we draw them, focusing too much on getting them to be accurate, but giving up the confident execution of the mark in doing so. Remember that the ellipses, as with every other mark, should be drawn using the ghosting method, whose sole purpose is to allow the student to draw marks confidently, free from hesitation, by breaking the mark making process into a series of separate steps. I explain how this works, and the general mindset to apply when using the ghosting method, in this response to another student.

Your contour curves are generally coming along fairly well in this regard - they're a touch stiff at times, but definitely more confidently drawn than your contour ellipses, and they do a good job of wrapping around the sausage form's rounded surface.

There's one last issue that impacts both types of contour lines - often times the degree of your contour lines tend to be very consistent, which is actually incorrect. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

Moving onto your texture analyses, I think you've done a great job here. You're clearly focusing purely on clearly designed and intentional shadow shapes, and through their use have been able to achieve a smooth, gradual gradient from dense to sparse. You're also exhibiting solid observational skills and attention to detail.

You continue to apply this for the most part through your dissections, though I think here there are some places (mainly on the first page) where you let your attention on the reference image slip somewhat, and rely more on memory resulting in a somewhat cartoonier result. The bricks stand out in this regard mostly, and with the hair, remember that you're meant to unwrap the texture from its original form and wrap it around the sausage - not just give the sausage a new hair-do.

Moving onto your form intersections, these are largely done well - you're drawing the forms such that they feel cohesive and consistent within the same space - although there are a couple things to point out, mostly in regards to your cylinders:

• You seem to have missed the instruction about avoiding forms that are more stretched out in any one dimension

• You're neglecting to draw through the ellipses for your cylinders.

• I think you may be getting the relationship between the ellipses on either end of your cylinders mixed up - the end that is closer to the viewer will always have the narrower degree, and the end farther away from the viewer will always end up with the wider degree. This is explained in these notes, and is also something that applies to the ellipses in your organic forms with contour lines.

As far as the intersections go, I think you've got a great start. This exercise is primarily just an introduction to the idea of thinking about how the forms we draw relate to one another in 3D space, and how to define those relationships in our drawings. This is not something I expect students to have prior experience with, and it is something we will continue to explore throughout the lessons, but you've got some solid attempts in here.

Lastly, your organic intersections are looking good - you've established how these forms interact with one another in 3D space, rather than as a bunch of flat shapes stacked on top of one another on a flat page. You're also capturing a sense of gravity in how they slump and sag over one another. I do however want to discourage you from drawing one big form and a bunch of small ones - try to keep them roughly the same size.

All in all I think you're doing a pretty good job. I'll go ahead and mark this lesson as complete, but be sure to keep the points I've raised here in mind, and continue working on these exercises as parts of your regular warmup routine.