Starting with your arrows, these are definitely flowing quite fluidly through space, which is good to see. One thing to keep in mind however is that the rate at which perspective is being applied to the positive space (the width of the ribbon itself) should be consistent with the rate at which perspective is being applied to the negative space (the distances between the zigzagging sections). Perspective applies to both equally, and when they end up being inconsistent, the eye can usually pick up on something being off.

I think you did a good job as far as this is concerned on a number of these - like M and N but there are others where it was less consistent.

I'm glad that you picked up on the issues with your sausage shapes, and your additional page was somewhat better, but there are still definite issues specifically with the ends. Where the sausage forms ought to be two equally sized spheres connected by a tube of consistent width, you have a tendency to draw the ends as being of different sizes, or as being more stretched out than spherical. A lot of students have some trouble with these initially. One piece of advice I can offer is that you should try to slow down the pace at which you're drawing them. That isn't to say you should draw carefully or with hesitation - you should still be drawing at a confident pace, but that doesn't necessarily mean fast. Drawing confidently means being able to shut off your brain and keep it from steering the drawing motion. Slowing down however can help you to regain some control and to achieve those rounded, spherical turns at either end of the sausages. If of course you find yourself wobbling or with stiffer lines, speed up again. As you continue to practice the use of the ghosting method, you'll find that the speed at which you can draw without wobbling will gradually decrease.

Other than the sausage shapes, there's only one other issue I noticed - on your extra page you don't seem to be drawing through your ellipses (aside from the first one). Remember that this is required of all the ellipses we draw for these lessons.

Moving onto your texture analyses, your work here is coming along pretty well. With the crumpled paper, I'm glad you really leaned into the hard shadow shapes, though all of the white borders in between probably shouldn't be there. The way this kind of texture works is that you're only going to get a lot of information about the surface's texture around the midtones. Far into the darks, you're not going to be able to discern the borders, it'll all just be one big fused black shape. Similarly, far into the lights, you won't have any ink at all, where everything has fused into shapes of light.

You've done a better job capturing that through the other two rows, although in general I think you're still afraid to really plunge fully into the dark side of things, and as a result the solid black bar on the far left of the gradient generally isn't blending seamlessly into your texture, and is pretty identifiable. When done entirely correctly, you wouldn't generally be able to tell where that black bar ends and the "texture" begins.

Moving onto your dissections, I think you've put a lot into focusing on shadow shapes, although you are still relying quite heavily on outlining your textural forms and drawing each one very explicitly. There are a number of places where this is keeping you from being able to transition from sparse to dense - for example, your chameleon skin jumps from bare to dense very quickly, giving the impression that there simply aren't any scales in that middle strip. The key to using cast shadows only and not outlining our textural forms is that by drawing only cast shadows, we can use more or less ink without changing the nature of the texture that is being communicated. Definitely go back over the notes on implicit/explicit texturing as it goes into it in greater detail.

There's one other thing I wanted to point out for this exercise - especially on the second page of dissections, there are a number of textures where the rounded surface of the sausage form ended up getting flattened out. The waffle cone is a good example of this, as they stretch out as though laid across a flat surface, rather than wrapping around the sausage itself. It's very easy when getting into texture and detail to lose track of how a given surface flows through space. Every mark we put down for a texture functions like a contour line - it can reinforce the curvature of a surface, or serve to flatten it out.

There are major strengths and some weaknesses to your form intersections. In terms of your spatial reasoning skills, you've done a good job of drawing these forms such that they exist together cohesively and consistently within the same space, and there's also a great start to establishing your grasp of how the forms relate to one another within that space with the intersections. The intersections are really an introduction to a concept that I don't expect students to be able to nail just yet - it's to plant a seed and get the student to start thinking about spatial relationships as they move into the constructional drawing lessons, and is something we'll explore further throughout the entirety of this course. It's understandable that you've got a well developing grasp of this, given your prior experience with Drawabox.

The bigger concern right now however is that your approach to drawing these forms has fundamentally changed from the principles laid out in Lesson 1:

• You're drawing more faintly and timidly, and demonstrating more sketchy behaviours

• You're not drawing through all of your ellipses (you're drawing through some of them, but there are many where you're focusing exclusively on making them as clean and hidden as possible

• In a number of places, rather than adding weight to emphasize parts of existing lines and clarify specific overlaps, you're tracing over those lines very carefully (not applying the ghosting method), and in certain places trying to replace the stroke that had been drawn previously - something I specifically speak out against in the video for this exercise.

This is a difficult exercise, and often times when students are faced with difficult challenges, they tend to fall back into bad habits, and shift their priorities to achieving what they feel is hardest, but sacrificing what they've learned thus far to achieve it.

Every single mark you draw must be drawn confidently, using the ghosting method. You shouldn't be trying to draw things loosely or lightly with the intent of creating an underdrawing, followed by a clean-up pass. When adding line weight, you should also be using the ghosting method, specifically because of how it forces you to execute your marks with confidence rather than tracing carefully along a line (something that causes students to focus on how the line exists on the flat page, rather than as an edge in 3D space). And lastly, while you may have the urge to do so, you should not attempt to fix mistakes. Mistakes will happen, but once a line is on the page, that's what you've got to roll with.

With the organic intersections exercise, you end on a pretty high note. You're back to employing the techniques properly, drawing with confidence and constructing these forms such that they interact believably together, giving a strong sense of gravity as they slump and sag upon one another. Getting into the second page I'm seeing some of the bad habits I outlined in regards to the form intersections (tracking over the silhouette to reinforce entire lines, drawing things lightly initially, etc.) but the first page is well done. Just remember above all else - in every single one of my demonstrations, I'm drawing with a digital brush that does not allow me to draw lightly. Don't just focus on the end result as your goal, try to match the approaches I use as well.

Before I mark this lesson as complete, I'm going to ask for a few more pages to demonstrate your grasp of the critique I've laid out here.