Starting with your arrows, you're doing decently here, though I do have a few concerns to call out:

• While your linework is coming along well, keep pushing yourself to execute your marks with confidence. The second the pen touches the page, there is no room for hesitation - push forwards with the stroke you've ghosted through, and execute it from your shoulder. The shoulder works like something of a stabilizer, which will help you avoid some of the subtler wobbles you're still encountering. There are definitely large stretches where your linework is fairly smooth, but if you look here there is some very subtle shakiness that comes from slight hesitation.

• For each arrow you draw, try and focus on a gentle zigzagging pattern. The more complicated you get, the more distracted you'll be from the core focus of the exercise. So you do have some here that develop into spirals, which could undermine some of your focus.

• When applying the hatching at the zigzagging area to show how the arrow folds back over itself, don't scribble haphazardly. Put down intentional lines that stretch across the ribbon from edge to edge, as you can see in the example from the lesson. Furthermore, consider where you're actually placing them, because that's going to determine which part is in front, and which part is behind. The way you're drawing them now results in a really weird back and forth. Compare how you've applied them to those from the example.

Continuing onto your organic forms with contour lines:

• You're a bit inconsistent in terms of how closely you stick to the characteristics of simple sausages. Most of those with contour ellipses are fairly close, except for the larger one towards the middle-right), but you have a greater tendency to put down sausage forms that deviate quite a bit from the characteristics listed in the instructions.

• Again - use the ghosting method for every structural mark you put down, including your ellipses. Right now your ellipses are quite hesitant, which results in fairly uneven, wobbly linework. There are some places where you also forget to draw through your ellipses two fill times - but you are doing it most of the time. Drawing more confidently will help make this more beneficial, it tends not to be super apparent how it helps when we draw more slowly.

• Your contour curves definitely have room for improvement in terms of their alignment

• Also, remember that as discussed in the Lesson 1 ellipses video, the cross-sections of cylindrical structures (organic forms like these included) will shift wider as we move farther away from the viewer, rather than remaining the same throughout.

Onto your texture section:

• I can see that you're very purposefully working with filled areas of solid black, which is a big step in the right direction. I do however highly recommend that you draw each of these in a two step process, first outlining your desired shadow shape with your usual fineliner, then filling it in with the thicker pen/brush pen, rather than trying to paint the shapes on one stroke at a time.

• Extending off the previous point, this is especially important because the specific intentional design of each shadow shape is what implies the presence of the form casting that shadow, and defines its relationship with the surfaces around it. This may have been added after you last went through these notes, because I noticed a common misunderstanding students were running into, but as explained in these notes, we're not copying the shadows we see in our references - we're using the reference as a source of information, to understand the nature of each individual textural form in play, and then we're designing the shadows they'll cast based on that understanding.

• It also appears that you're not really making any effort to blend that solid black bar on the left into the rest of your gradient. The notes here may help, but I suspect you may have forgotten what the purpose of that bar is, which is explained here (in the second paragraph). Here's the link for the actual section.

• While I'm not going to get too deep into the dissections (because the issues I mentioned above the main issues), I did want to remind you that at no point should you ever rely on any kind of randomness or scribbling, as you did with the old cloth/old sweats(?) texture on this page. Texture is not decoration - it is about understanding the forms that are present, each one individually, and capturing the shadows they'd cast. That does mean that it's time consuming, and a lot of students will try to take shortcuts - like scribbling - but that is not what the exercise is about.

Moving onto your form intersections, I definitely get a similar impression to the dissections - it's a complex, challenging exercise, but I think instead of focusing on thinking through every action taken, it does look like you leaned more into just getting marks down on the page. What I'm seeing here is that you're:

• Not applying the ghosting method to your lines.

• Scribbling your hatching lines a ton (not the end of the world, but it's not a great look if you're trying to avoid giving the impression that you're rushing). I suspect that because this is a difficult, intimidating exercise, that you leaned more towards drawing more, rather than taking the time to draw each mark and each form to the best of your current ability. Unfortunately, that doesn't really help us here - my critique's only going to be useful to you if it's based on the best of your ability. In order to do that, you need to spend as much time as you need on each mark, and each form - not simply putting lots of time into the page as a whole by packing it full of forms.

• Your boxes are being drawn with no actual convergences in most cases, which isn't correct. Based on everything we've gone over in Lesson 1 and the box challenge, you cannot simply force all the vanishing points to "infinity" in order to eliminate them, and there is no such thing as '0 point perspective'. You may be thinking about isometric projection, but that's a whole different can of worms - a different strategy for capturing 3D space, but one that does not attempt to replicate human binocular vision in the way that perspective projection does. If you've never heard that term before though, don't worry about it. Either way, the thing to keep in mind is that we can only place a vanishing point at infinity (in the way described back in Lesson 1) when the lines it governs run perpendicular to the viewer's angle of sight. Or, a simpler way of thinking about it is, when those lines don't slant towards or away from the viewer through the depth of the scene. But the simplest is this: you've skipped pretty much everything we've learned about boxes thus far.

• As a side note, along the side of the diagram for this step from the instructions, I have a little demonstration of how to go about building a cylinder, specifically using a central minor axis line to keep the ellipses aligned to one another. It can also be applied to cones, and is quite useful, but you don't appear to have used it.

• And lastly, I'm not seeing any attempts being made at actually drawing your intersection lines. I by no means expect students to have much success in drawing them, but I do expect an attempt to be made. For your next attempt - as there will indeed be revisions - you may want to take a look at these 2 suggestions when attempting to define how different forms intersect. It doesn't explain how to think about the intersections, but they are good things to keep in mind just to make sure you're not way off base with your attempt.

And lastly, your organic intersections are okay. Working on the points that I raised in your organic forms with contour lines exercises will certainly help, but as a whole I can see that you are indeed thinking about how those forms slump and sag over one another, and while there's plenty of room for improvement in how you design those cast shadows (again - outline them first, then fill them in), I can see that you're thinking about how they're falling upon the surfaces beneath them.

Just one thing - keep a single consistent light source in mind when deciding which direction your shadows should be cast, to avoid inconsistencies. As you can see here, you've got one shadow on the left side being cast to the right, while the other two forms in the middle and right have their shadows being cast to the left.