Before I get into the critique I want to point out something about the paper you're using - there are two issues with it:

• First off, you're working in a sketchbook that is obviously quite small. While my concern is not for the quantity of work this results in (you obviously did extra pages in certain areas to compensate for this), but the fact that drawing smaller is going to cause you trouble down the line. Our brains benefit considerably from being given more room to think through spatial problems, and being given more room also helps us to engage our whole arm when drawing, avoiding hesitation, clumsiness, and stiffness.

• Secondly, the type of paper in that book appears to be a bit more textured and rough, which suggests to me that it may be the sort better suited to drawing with pencil and charcoal. The reason this is important is that such paper isn't terribly kind to fineliners, and often will drain their ink more quickly, as mentioned back in lesson 0.

Please keep these two points in mind - I highly recommend that students do their work on standard A4 printer paper, as it helps reduce both of these issues. While I understand that some students prefer to do their work in a book, if it's going to impede your ability to go through the lessons to the best of your ability, it's not really worth it.

Woops, I just realized that you switched to printer paper after the organic forms, so thank goodness for that!

Starting with the arrows, you've got them flowing relatively well through space, although on the second page especially, you tend not to compress the spacing between the zigzagging sections enough, which reduces the sense of depth in the scene. Always remember that foreshortening applies to the negative space - you did a better job of this on the first page, so I assume you understand this well enough, and just forgot to apply it to the second.

The other thing I wanted to mention in regards to your arrows is about the line quality itself. Again, in that first page the lines are looking much smoother and more confident, but there's definitely more wavering and wobbling on the second. Remember that line weight should be added with the same kind of confidence with which you'd draw the original marks, and that if you make a mistake, you should not attempt to correct them. Correcting mistakes just piles ink onto those areas, drawing more attention to them.

Continuing onto the organic forms with contour lines, you're clearly making an attempt to stick to simple sausage forms, as mentioned in the instructions, That said, there is some room for improvement in this regard, specifically in making sure that the ends of your sausages remain circular/spherical, instead of getting stretched out a little or getting smushed down. Based on the improvement on this front that I see in the dissection sausages, I think that drawing smaller was also contributing to this problem.

Looking at the contour lines themselves, the ellipses are admittedly drawn a bit hesitantly (again, likely because they're smaller). The contour curves are a bit better, although you're still struggling with some of the accuracy/control there. I did notice that you were playing with shifting the degree of your contour lines wider/narrower along the length of the forms, which is good to see. I did notice one spot where the contour curves implied that the sausage was facing away from the viewer, but a contour ellipse was still drawn on that end, suggesting the opposite. While this only came up once, and probably was just a simple mistake, make sure you're familiar with the idea that is demonstrated in this diagram.

Moving on, again - I'm very glad that you changed over to printer paper here. Your texture analyses are by and large quite well done, at least in the first two rows. The third I think was a bit of an experiment that went in the wrong direction, but I'll touch upon that in a moment. The first two rows are, as I mentioned, really solid. You focused entirely on clearly defined shadow shapes and didn't rely on outlines at all. You then used those shadow shapes to control the density of your textures, establishing a strong gradient from left to right, and successfully blending that bar of solid black so its edge was no longer identifiable.

The issue with the third row is that you actually tried to work with several different textures from a single object. The key to this exercise is to take one continuous texture (like the flesh of the kiwi, that has seeds in it, but can be turned into a fairly consistent pattern) and modify it as needed to be more dense on one end and less on the other. If you add the kiwi skin to the mix, you're effectively unable to achieve a smooth transition from one to the other.

Continuing onto your dissections, your work here is coming along well, although there are definitely places where you've slipped back to outlining your textural forms instead of allowing them to be entirely implied by the shadows they cast. These notes go over this issue in greater detail, so be sure to give them a read.

One thing I do want to mention though is that our textures consist only of cast shadows. That means when you see something is already black - like oil, or certain parts of lava - those are their "local colour". Similarly to how we wouldn't care if a surface was bright red, or green, or blue, we're going to ignore all local colour when drawing them here as well. Focus only on capturing the 3D form information - that is, the shadows cast by those textural forms - and nothing else. Imagine the object itself is made up of a solid flat white or grey.

Looking at your form intersections, you've done a great job of constructing these forms such that they feel cohesive and consistent within the same space. You've also got an excellent start to the intersections themselves. This part of the exercise is all about introducing students to thinking about how the forms relate to one another in 3D space, and how those relationships can be defined on the page. We aren't concerned at this point as to whether or not the intersections are correct - it's just an opportunity to expose the student to this idea so they can continue to think about it as we explore the concept further throughout the rest of this course. As it stands though, you are indeed off to a great start.

Your organic intersections are mostly well done, and I can see a lot more confidence behind each of those individual sausage forms (compared to the earlier exericse). Most of these forms are laid out such that they clearly establish how the forms interact with one another in 3D space, rather than as a series of flat shapes stacked atop one another. Again most of these forms also show a strong sense of gravity in how they slump and sag against one another. And that brings us to main issues - those few forms you place on top of the pile, which don't quite give a sense of gravity, or stability. In the future, just try and focus on building a solid, stable, three dimensional pile of forms. When drawing a form, ask yourself whether you're producing it in a way that feels like it's well grounded, or if it's going to roll away off the pile.

All in all your work throughout this lesson was off to a bumpy start, but definitely got much better. I'll go ahead and mark this lesson as complete - just be sure to keep working on printer paper, instead of that small sketchbook.