Tofu asked me to jump in as your work by and large still seems roughly the same as before.

You mentioned that "I did neglect the ghosting method due to being too focused on getting the shapes" - I'm unsure of whether that is in reference to your previous work or the latest pages, but I'm guessing it applies here as well, as the line work does not show any real signs of the specific aspects of the ghosting approach being used.

As Tofu stated, this approach is required for all the freehand linework we execute throughout this course. You stated that you neglected it due to being focused on other things. It's true that drawing requires us to be aware of a lot of many different things simultaneously, but the solution to that is not to simply choose to focus on some things and neglect others - the solution is to give yourself more time to attack each individual problem one at a time. I believe right now your work suggests that you are expecting this work to simply take less time than it should. To that end, I would recommend you watch ScyllaStew go through the work here. Her realtime recordings of the work can really demonstrate just how long this stuff takes when being done as instructed.

The ghosting method itself - in specifically requiring that we break the markmaking process into distinct steps, where we first identify the specific nature of the mark we wish to make, where it starts, where it ends, etc. is critical for taking a complex task and narrowing it down into exactly what is required of us right now. In neglecting it, you've actually avoided a tool that would help you manage the many lines that need to be executed.

In addition to this, the ghosting method's execution phase - right at the end - prioritizes executing our marks with confidence, and to avoid any hesitation whatsoever, to help us achieve a consistent, smooth stroke regardless of accuracy, as stressed throughout Lesson 1. This helps avoid any wavering and wobbling in our marks when applied correctly (although if we don't spend enough time in the planning and preparation phases it will throw off our accuracy, which is something we only worry about once our lines are smooth).

There's a couple other quick points of advice I want to offer:

• Try to work with forms that are roughly similar in size - don't go with a single large form as you did on the last page.

• It's good to see that you're utilizing the minor axis to help with the alignment of your ellipses in your cones and cylinders. I noticed a few places where you neglected to do this for the cones on the last page, so be attentive to that, but in general I'm pleased that you do use it. When doing so, I would recommend that you have your minor axis lines drawn long enough so that the entire ellipse can sit on it, instead of having the minor axis line end at the center of the ellipse. Have the minor axis line cut all the way through.

Now, I will need you to tackle these revisions once again - this time being sure to employ the ghosting method as instructed, and giving yourself as much time as you require to execute the work to the best of your current ability without neglecting anything addressed so far throughout this course.