Starting with your arrows, the overall motion of how they move through space is well established, although the linework itself has a touch of hesitation to it that suggests you're not executing your marks as confidently as you should be, and it results in some rigidity to the lines. It's quite minor, but still something to keep in mind. You've also got a little break in places where the separate segments you've used for each edge of your arrows meet - this is actually something we'll address in Lesson 3 with the branches exercise, where we learn to let those segments overlap a little, which allows them to flow more seamlessly from one to the next.

One last thing about this exercise - make sure that as the ribbon of your arrow gets narrower with perspective (as it moves away from the viewer), that you are applying that compression consistently to the distances between the zigzagging sections. Perspective applies to the width of the ribbon (the positive space) and to the spacing between those zigzags (the negative space) equally.

Moving onto your organic forms with contour lines, the first thing that jumps out at me is that your sausage forms are not maintaining the characteristics of simple sausages as explained here. It does appear that you were trying to achieve this, but that in doing so you decided to draw your sausages with 3 separate strokes instead of one continuous stroke. In doing so, you ended up with severe breaks to the flow of your lines at either end, so this technique simply is not working for you. I'd recommend going back to drawing them with a single stroke, doing so using the ghosting method and ensuring that you're drawing from your shoulder.

For your contour ellipses, you're generally doing a decent job of drawing them confidently and evenly, though you are drawing through them too many times. You are to draw through them 2-3 full times before lifting your pen, no more or less than that, and 2 is ideal.

Your contour curves on the other hand are drawn a bit stiffly in some places, which again suggests that you're not executing them as confidently as you ought to each time. Remember that the ghosting method is all about breaking the process of drawing into multiple steps, each with its own responsibilities and priorities. First we identify the nature of the line we want to make, the job it is meant to accomplish, and so on. We pin down where it starts and ends, find a comfortable angle of approach, and so on. This is planning. Then we move onto the preparation phase, going through the motion to take this specific task your brain is consciously focusing on, and start pushing those marching orders down into your muscle memory. We repeat it over and over so your arm can accomplish this without thinking, without steering the mark with your eyes. Finally, we execute the mark with confidence, and with absolutely no hesitation. From the moment our pen touches the page, any opportunity to avoid a mistake has passed, and all we can do is push through and move on. Mistakes happen, and it's important to accept that - to give in and execute the mark more slowly, steering it with your eyes, is to give up before you've even made the attempt.

I explain this concept of multiple phases with different responsibilities further here in an answer I gave another student. It may be worth reading through.

With both contour ellipses and curves, you are doing a good job of fitting them snugly between the edges of the sausage form. The only other issue I wanted to point out has to do with the degree of your ellipses and curves - you keep them entirely consistent throughout, which is not correct. Instead, as shown here, the degree of a contour line represents the orientation of that cross-sectional slice in space, as it relates to the direction the viewer is looking. This should change naturally depending on where along the form we're taking our sample, so the contour lines should get wider or narrower as you slide along the sausage's length.

Moving onto your texture analyses, I don't think you've understood what you are meant to be doing in this exercise. The texture section of Lesson 2 focuses primarily on one concept - the fact that when we draw textures, we are not drawing lines and outlines along the various forms that make up our textures. Instead, we are drawing the shadows those forms cast on their surroundings. Using shadow shapes instead of lines allows us to control how densely we want to draw our textures, in order to create a transition from light to dark.

You instead outlined each and every brick and stone as the first step of your approach. You also seem to have employed tools other than those allowed (black fineliner and black brush pen), and also didn't lay out your page as mentioned in the instructions. You ended up with two rows of 3 squares, instead of 3 rows with two squares and a longer rectangle each. As a whole I get the impression that you didn't really read the instructions all that closely. The instructions are all there, but it is your responsibility to follow them to the letter. To that point, your dissections also suffer from similar issues of outlining each and every textural form first, and not observing your reference images enough. As a whole, your textures are highly simplified, which suggests that you're working primarily from memory. You should be spending most of your time looking at your reference images, only looking away for long enough to make one or two very specific marks to transfer the information you see in your reference to your drawing.

In your form intersections, your line quality is generally okay. I do feel like you're not putting as much time as you could into your use of the ghosting method, but for the most part the straight lines are drawn relatively smoothly. You are however neglecting to draw through your ellipses. As mentioned before, you need to be drawing through them no more and no less than 2-3 times throughout all of these lessons.

You're doing a decent job with the primary focus of this exercise, which is to draw these forms such that they feel consistent and cohesive within the same space. What you didn't attempt at all however were the intersections themselves. I don't expect students to be able to do these correctly at all - they serve as an introduction to the idea of thinking about how these forms relate to one another in 3D space. By attempting them here - whether they get them right or wrong - it serves as a starting point as we further explore the concept of spatial reasoning throughout the rest of the course.

Lastly, your organic intersections have a number of major issues:

• You've drawn them more as flat shapes pasted on top of one another, establishing no actual interaction between them in 3D space. They're not slumping or sagging against one another, they don't exist in a pile, and there is no sense of gravity pressing down upon them.

• When adding line weight, you added it all the way around the silhouette of each form, and quite thickly. Line weight is something that should be quite subtle and light - the viewer's subconscious will pick up on slight changes in thickness, you don't need any more than that.

• When adding line weight, you appear to have done so with very short, chicken-scratchy marks. You should be applying the ghosting method here as well, to draw those additional marks exactly as you would when having drawn the original marks. Confidently, with pre-planning and preparation.

• You seem to be confusing cast shadows and line weight. Line weight is very subtle (as mentioned above) and wraps around the form itself. Cast shadows are drawn on the surface of some other form, and is actually a shape that can be as large as you need it to be. It does not however cling to the silhouette of the form casting it - if you have a sphere floating in space with the ground far below, then the cast shadow will be on the ground itself, not floating in space next to the sphere.

You've certainly made an effort to get through this work, but I think that you haven't really given yourself the best chance at completing the work to the best of your ability. The lessons are very densely packed with information, with plenty of demonstrations and a lot to process. It's inevitable that you will need to go through it multiple times - ideally reading through the instructions immediately before working on the given exercise to ensure that you're doing it correctly, not working based on your own memories of what the exercise entails.

Taking the time to read and reread the instructions and to follow them more closely is your responsibility. Much of what I've outlined here was present in those instructions, and while I leave plenty of room for students to forget and miss things, this has gone well beyond that.

I'm going to ask you to attempt this lesson's work from the beginning, and submit it again. This will not count as a revision - since I'm asking you to redo the whole lesson, you will need to post it as a separate submission, along with paying the 1 credit to do so.

If you feel uncertain about how much time you should invest into a given exercise, or even part of an exercise, I recommend you take a look at the recordings on ScyllaStew's YouTube Channel. She does live recordings and sets a solid pace for herself, so you can use her as a good example of how to approach things.