Starting with your arrows, these are generally flowing quite well across the page, though there are two things to keep in mind. Firstly, I'm noticing just a touch of hesitation in your lines. This is pretty normal, considering that you're attempting to draw a rather dauntingly long stroke, but always push forwards with confidence - don't let yourself hesitate, and don't worry about mistakes. Mistakes will happen, that's natural, but you need to accept that (easier said than done), prepare as needed and accept the results. Your second page is definitely better at this than the first, though there is still some hesitation present to be aware of.

The second point is that right now you're not applying foreshortening to the distances between your zigzagging sections in the way it's being applied to the ribbon itself. You've got the arrow's ribbon starting out big and then shrinking down into a tiny tail, but the gaps between those zigzags remain roughly the same size. Make sure you're compressing them as well with perspective.

Moving onto your organic forms with contour lines, you've largely done a good job of trying to stick to the characteristics of simple sausages as outlined in the instructions. That said, there are some issues with the contour lines themselves - you're certainly making an effort to keep them both smooth and fit them snugly between the edges of the form, but there are a few things that are impeding you:

• First and foremost, you're not drawing through your ellipses. You should be drawing through them two full times, as this will help you achieve a little more confidence with your execution, and will help you develop the requisite muscle memory much faster.

• It's critical that when you draw any mark, that you apply the three stages of the ghosting method - planning (identifying the specific nature of the mark you want to draw, finding a comfortable angle of approach, determining precisely what the job you want that line to do is and whether it is the best choice), preparing (ghosting through the motion to familiarize yourself with it and increase your accuracy/control), and finally executing with a confident, persistent pace. This applies to straight lines, curves, ellipses, everything. The purpose is that it allows us to execute our marks without hesitation or fear of making a mistake, while reinforcing it with improved control and accuracy - that last part is what you're struggling with here.

• Your contour curves seem to be a bit mixed - they have the same issue where they're not always fitting snugly between the given forms, but it seems to me that you're drawing them quite quickly, perhaps focusing on quantity over quality, and as a result a lot of them don't end up hooking around correctly on both sides, as shown here (though the example there is more exaggerated).

I'd recommend drawing fewer contour lines, but putting more time into drawing each of them to the best of your ability.

Additionally, right now you appear to be keeping the degree of your ellipses all quite consistent throughout. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

Continuing onto your texture analyses, you're definitely off to the right start here (particularly in the first two rows) - you're focusing entirely on shadow shapes, and you're clearly thinking about how these shapes relate to the forms that actually cast them, and as such imply the presence of those forms through the shadows' shapes. In your third row this is somewhat less the case, because you've really just stuck to lines rather than actually constructing shapes. One way to avoid confusing the two is to draw each one in the two-step process shown here. Forcing yourself to first outline a shape then fill it in will make it impossible to fall back to drawing basic lines.

The only issue here is that while you definitely did work on developing a transition from a darker concentration of your texture to a lighter, sparser one, is that you didn't quite manage to blend the solid black bar on the left side of the row. The point of that bar is to be forced to obscure the point where the texture starts. You were close, but definitely need to let your shadow shapes expand more and blend more into one another in order to fully fill that end of the gradient.

You continue to show improvement as you go through the dissections, and I'm quite pleased with your results here. You've experimented with a wide variety of textures, and have approached each one in a unique, different way. You're still pretty hesitant when it comes to going full-dark and really upping the density of those textures, but you're still otherwise demonstrating a good grasp of how to control along the sparser and more middling end of the spectrum.

Looking at your form intersections, you did a good job in terms of constructing the forms such that they feel cohesive and consistent within the same space, although there are a number of issues with just how you've gone about approaching the linework that need to be addressed:

• Not drawing through your ellipses

• You approached the linework with a "clean-up pass" which is explained here as being something you should avoid, due to the hesitant tracing of your lines resulting in a lot of wobbling and stiffness.

In addition to this, you missed the instruction about sticking to forms that are roughly the same size in all three dimensions, and avoiding those that are more stretched in any one dimension (like longer cylinders), and you also missed the step-by-step instruction on how to construct a cylinder around a central minor axis line present in the diagram for this step. A minor axis line like that is an extremely useful tool when drawing anything that has ellipses in it, including cones.

As far as the intersections go, you're off to a good start, and I'm glad you switched to drawing them in black rather than brown in your later pages. Having it in a different colour makes the intersection lines seem more like something separate, when those defined relationships are very much a part of the structure. That's what the intersections are all about - introducing the student to thinking about how the forms relate to one another, and how those relationships can be defined. We'll continue exploring this quite a bit throughout the rest of this course, and I don't by any means expect you to have any prior experience or comfort with it now.

Lastly, your organic intersections are coming along reasonably well. You're doing a good job of establishing how they interact with one another in 3D space, and in most places you're creating a believable illusion of gravity (aside from the two on the second page that don't entirely feel convincingly supported by the forms beneath them).

Before I mark this lesson as complete, there are a few more pages I'd like to see from you to show that you understand the points I raised in regards to your organic forms with contour lines and your form intersections' line quality issues.