Starting with your arrows, these are generally drawn such that they flow fairly well across the page, though there are two things I want to draw your attention to:

• First off, keep an eye on the spacing between the zigzagging sections. Since this arrow moves through all three dimensions of space, including its depth, that "negative space" is also subject to perspective and foreshortening, so you're going to want it to compress as we look farther back.

• When adding hatching lines, don't do so haphazardly. Make sure you're taking the time to ensure that they stretch across the surface of your ribbon from edge to edge. We can choose whether or not we want to include something like that, but there's no middle-ground where we can choose to add it but do so sloppily. Draw it to the best of your ability, or not at all.

Moving onto your organic forms with contour lines, while it appears you are making an effort to stick to the characteristics of simple sausages as mentioned in the instructions, you are still struggling with it where you end up with one end coming out much smaller than the other across most of these. Remember to try and keep the ends equal in size, while maintaining a consistent width in the tube between them.

The contour lines themselves are drawn decently, although there is definitely some stiffness to how they're drawn that suggests that they may be drawn more from the wrist than the shoulder. It's more prominent in the curves than the ellipses, but it is visible in both areas. Make sure you're applying the ghosting method to every mark you draw, ellipses included, and be sure to execute every such mark from the shoulder in order to keep it evenly shaped and tight.

The last thing I wanted to mention is that you are currently drawing your contour lines with roughly the same degree across the full length of a given sausage form. 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.

Continuing onto your texture analyses, there is a lot of good here - it's clear that you're leaning hard into the use of clearly defined shadow shapes. There are still some places where you're trying to make do with basic lines, but even there you're clearly not trying to outline your textural forms. While it's still technically incorrect, it's not a huge mistake and it's one that we can avoid by purposely making each of our textural marks using this 2 step mark making process.

As a whole you're doing a good job of leveraging those filled shadow shapes to control the density of your textures as you move from left to right on the gradient. You are definitely struggling a little to actually fill the shapes in though - grabbing a brush pen can definitely help with that, to fill shapes in once they've been outlined.

Moving onto your dissections, here you do actually slip back a bit and end up relying more on outlines to define your textural forms, as explained in these notes. Remember that even here, and anywhere we're drawing texture, you'll want to work with shadow shapes instead. I can also see some places where you're perhaps not observing your reference as much or as often as you did in the texture analysis exercise. Remember that this can result in oversimplification of the textures - it's important that you continue to look at your reference almost constantly, only looking away to draw a single specific shape or mark before looking back once again.

Looking at your form intersections, there are a few things that stand out to me:

• You don't appear to be using the ghosting method to draw your lines. This results in lines that waver more and are generally more hesitant, rather than being smooth and consistent. This is really important, as poor linework undermines the solidity of the forms you're constructing. As a whole, your work definitely gives off the impression that more effort/time can be invested into your linework.

• In some cases you appear to have forgotten about the rule of avoiding forms that are stretched in one dimension.

The intersections themselves are a good start. Here we're only interested in introducing students to the spatial problem of figuring out how their forms relate to one another and how to define those relationships on the page. We're not concerned with how accurate they are, but just that the student is making an attempt to figure them out, and you certainly are. In the future though, I recommend that you draw those intersection lines in black, so that they feel like they're part of the drawing itself, rather than some separate analysis. I do understand why you drew them in red though - the diagram had them in red (because I was trying to draw attention to them), and so that was no doubt a bit confusing.

Last of all, your organic intersections are a good start, in that you're establishing how the forms wrap around one another in 3D space, and you're doing a pretty decent job of establishing an illusion of gravity. You're obviously still struggling to fill in your shadow shapes though, so again - investing in a thicker pen or a brush pen to fill those areas in is well worth it, in order to avoid your work looking sloppy.

The thing about sloppiness - and this is in regards to your submission as a whole - is that it affects how we think about the work we're doing. If we allow ourselves to put less effort into, say, ghosting all of our lines, we're going to end up putting less effort in general and we're going to rush through certain things that may genuinely deserve more of our time. Don't focus on getting the work done in a set period of time, and don't rush in order to meet arbitrary deadlines. The work I want to see from you is the best of which you are currently capable - that means that if you need to split up a single page of an exercise over several days, that's totally fine. But nothing should ever be anything but a demonstration of you investing as much time as you need to hit the limit of your current skills.

Before I mark this lesson as complete, I'd like you to do two more pages of form intersections, taking the time to actually apply the ghosting method to each mark you draw.