Your organic arrows have good flow and confident lines. To make them really look like they flow through space, note that both positive and negative spaces compress the further away they get. this is seen in some of your arrows but a lot of them don't show this trait.
Your sausage shapes also show good lines. In the contour ellipses, It's not clear whether they are bending towards or away, so make sure to distort your ellipses to show this. (See the mistake: degrees all the same on https://drawabox.com/lesson/2/contourlines) The forms also tend to squash a bit in the middle, but are okay. For the contour lines, this aspect improves a bit but it could still use some work.
Texture analysis: You do a good job of capturing the forms using solid shapes without unnecessary lines or hatching. You also understand when to eliminate detail based on how much light the area receives. Good work. You could also try using more solid shapes.
Though you understand how to eliminate detail based on lighting in texture analysis, you draw every line and add shadow in the dissections exercise. You understand how to capture the forms and wrap them around a surface, but remember that detail will tend to disappear in very light or very dark cases. Recall: https://d15v304a6xpq4b.cloudfront.net/lesson_images/ad811558.jpg
The prickly pear, moss, rough concrete, and hedge are good examples, though I would recommend using less lines in the well-lit areas of the hedge. The lizard skin and stone wall are examples that don't show any lighting.
Your form intersections generally look good and cohesive. The pyramids and cones tend to look a bit out of place, however, because of extreme distortion in some areas. Good work on determining the planes of intersection, I think you can visualize these quite well for curved surfaces. (I'm struggling with straight edges myself)
Organic intersections: The cast shadows are well-placed and look like they convincingly wrap around the forms. As with the earlier sausages, they look like they mostly point in the same direction, without heading towards or away from the viewer very much, but it is more evident here than in your previous exercise so there is some improvement. This could be some aspect to work on for later.
Anyway, good work, and good luck in the next stages!
A very belated thank you for your extremely detailed analysis and helpful comments. It took me until today to realise that someone had actually spent a considerable time and effort to go through my submission and write a thorough critiqe -I greatly appreciate it. I will definitely pay attention to the points you made going forward.
Thank you once again, and apologies for the six month plus delay.
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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