Starting with your arrows, you're doing a pretty good job, though I'm noticing that while you're allowing the spacing between the zigzagging sections to compress with perspective, you seem to be somewhat hesitant to let them overlap one another when that spacing gets really small. Overlaps will happen - don't fight it, just let it happen.

Moving onto your organic forms with contour lines, you've got a number of strengths here:

• You're mainly sticking to simple sausage forms as directed in the instructions (two equally sized spheres connected by a tube of consistent width)

• You're demonstrating an understanding of how the ellipses' degrees shift across the length of a given form

One thing I am noticing however is that your ellipses do appear a little stiff and uneven, which suggests that you're drawing more slowly and hesitantly, instead of drawing them with confidence. Remember that the ghosting method - which separates the process of mark-making into individual steps with their own specific priorities - should be applied to every single mark you draw, including your ellipses. This will help you to better maintain smoother lines.

Your contour curves are actually looking somewhat better - they're still a little wobbly/stiff, but do show improvement over the contour ellipses.

Your work with the texture works is very impressive. I'm especially pleased with the studies on your left side studies, where you've done an excellent job of focusing on shadow shapes. Towards the right side (the gradient), you actually alter your approach, though the techniques you employed on the left are entirely what you should be doing. I feel that perhaps you may have set aside your reference altogether and tried to draw from memory when doing the gradients. Instead, just do what you did on the left, but try and transition from having heavier, deeper shadows that all merge together into larger shadow shapes on the darker side, and shadows that get very small and evaporate towards the far right.

Your dissections are coming along well too, though I think the keen eye for observation and study you demonstrated in your initial texture analysis studies sets a pretty high bar that your other texture work approaches, but doesn't quite meet (though your second page of dissections shows improvement over the first as well). Long story short - you have it in you to do this very well, but don't always approach it in the same way.

Moving onto your form intersections, you're doing a pretty good job here. Some of your boxes do have room for improvement (if you applied line extensions you'd notice that your sets of parallel lines are sometimes diverging). That said, you've done a pretty good job of drawing the forms to be consistent within the same space, and you've got a great start with the actual intersections themselves. Just a couple things to keep in mind:

• In the instructions, I mention that you should avoid forms that are stretched in any one dimension, and to stick to those that are more equilateral, or roughly the same size in all three dimensions. You've got some longer cylinders here that bring more foreshortening into the mix, which makes a difficult exercise more challenging.

• When adding line weight, I noticed that your additional line weight has a tendency to just stop suddenly, so the lines jump from one thickness to another. Try and get your marks to taper as they start/end so they blend together more seamlessly. Drawing with more confidence, and avoiding applying too much pressure can help to achieve this.

Lastly, your organic intersections are a good start, and you're doing a decent job of getting the forms to wrap around one another. There are a few concerns however:

• Don't be so heavy with line weight, as it makes your forms appear flatter and more graphic. I suspect that you may have been using line weight as a way to hide mistakes (by blending many strokes into a single thick line). Correcting your mistakes is a bad habit, as it usually piles on more ink to the problematic areas and draws attention to them.

• Your linework seems kind of shaky and uneven here, so again, keep working on applying the ghosting method to every single mark you put down, in order to achieve smoother strokes.

All in all, you're doing a pretty good job, with a number of areas to keep working on. I'll go ahead and mark this lesson as complete.