Starting with your arrows, you're doing a good job with both establishing an organic flow to these, as well as considering how perspective impacts not only the positive space (the width of your ribbon) but also the negative space in between the zigzagging sections. I'm glad to see that you've allowed that spacing to compress as we look farther back.

I do have two minor concerns with this however:

• The hatching you've added to make greater sense of where the ribbon folds over itself is drawn a little sloppily - with any mark you put down on the page, take the time to execute it so that it feels intentional and planned. Any mark you deem worthy of drawing is worthy of being enough time to be done correctly. Otherwise you'll get into poor habits of rushing through things based on whether or not you deem them important.

• You've constructed the ribbon's edges with individual overlapping segments - this is totally fine, and is actually something we get into further in Lesson 3's branches exercise. That said, I think that where those lines overlap we get the strongest impression of stiffness and hesitation in your linework, as though you're slowing down to trace over it more carefully. Make sure that every aspect of your execution is confident, and free from hesitation. Otherwise that stiffness will taint the edge as a whole, and can impede the fluidity of your arrow's movement.

Moving onto your organic forms with contour curves, I am seeing some very slight hesitation in how you draw your sausage forms. This is obviously because you're focusing on maintaining simple sausage forms, and you are succeeding at that for the most part (aside from a few deviations that I don't expect were intentional). You likely achieved success by slowing down your execution - that's entirely fine as long as you're still able to push through with confidence. The moment you see any wobbling and stiffness in your lines, increase your pace a little more until it goes away. It'll be a continuous tug-of-war, but as you continue practicing the use of the ghosting method you'll find yourself able to execute with confidence at slower and slower paces, gradually regaining that control.

On the topic of the ghosting method, make sure you're applying it to each and every mark you draw. Based on the looseness and inconsistent accuracy of your contour ellipses and contour curves, I suspect that you may not be applying the three steps (planning, preparing, execution) as consistently as you ought to. The ghosting method is critical not only to help you learn to execute with confidence, but also to back it up with greater control.

Also, you're not consistent in drawing through your ellipses either. You do it a fair bit of the time, but there are definitely ellipses where you neglect to do so.

Lastly, it does not appear that you're necessarily thinking about what degree a given ellipse or contour curve should be. Remember that the degree of a contour line represents the orientation in space of that cross-sectional slice relative to the direction the viewer is looking. As shown here, that changes when you sample at different points along a form, and so your contour lines will widen or narrow gradually as you slide along it.

You've largely done pretty well with your texture analyses. You've put a lot of effort into focusing primarily on drawing solid shapes rather than lines, and in doing so you've been able to do a good job of controlling the density of your textures. There is one issue that I want to point out - it's not a big deal, and you're already doing far better than I'd expect with this exercise, which itself is just an introduction to the concept of texture.

Specifically, in your third texture - the leaf one with all the veins - you end up filling in your veins with solid black. In doing so, you're still explicitly drawing those leaves - you're taking the positive space of a form and filling it in - this is not something that can reduce in density without actively changing the nature of the veins themselves. Instead, you should only reserve the marks you draw for the shadows those textural forms cast. You did this better in the actual study along the left side of the row, where you focused more on the shadows on either side of each vein. Basically our marks are cast into the negative space around a form, and when attempting to convey the presence of a specific form, you never draw within its positive space. You may end up drawing in it when capturing the shadows cast upon it by some other form, but never when attempting to capture that form specifically.

All that said, I think you continue to do an excellent job with your dissections, and go on to demonstrate a really solid grasp of texture and shadow. The issues of drawing within the positive space of a given textural form is still present in some cases - like your tire tread texture - but all in all you're still doing very well.

Your form intersections are largely doing well, though I feel like the linework is a bit rushed - again, I think it comes down to whether or not you're applying the ghosting method consistently to every single stroke you draw. I understand that fully employing the ghosting method can be time consuming, but it is absolutely worth it to build the muscle memory and good habits that will take you forward.

As far as your intersections go, they're a good start though you should have focused on drawing their visible portions, instead of drawing them all around. It's not that big of a deal, but I feel like it may have made this particularly challenging exercise a little bit easier. That said, the intersections themselves are merely an introduction to the concept of spatial relationships between forms, and I by no means expect students to be able to understand these just now. You've got a good start on them, and we will continue exploring them through the remainder of the course.

Lastly, I do have one issue with your organic intersections. You did a good job in making the forms themselves feel fairly solid, but the way in which each sausage form was drawn appears to entirely ignore physics. You've got forms that are floating rigidly in space without any support, and this greatly impedes the illusion that we're actually looking at something believable. They do feel 3D, but there's no sense of how they're actually interacting with one another, how they're slumping and sagging against each other and attempting to have their weight supported.

All in all you are doing a good job, but there are definitely some issues with the two organic form exercises that I'd like to sort out before we move on, so I'll be assigning a few more pages below.