Starting with your arrows, they're flowing fairly confidently and fluidly, although one thing you need to consider is the fact that there's no real foreshortening being applied to these. They're about the same size on the end closer to the viewer as the are on the end farther away, both in terms of the size of the arrow/ribbon itself, as well as the spacing between the zigzagging sections. You should be considering how perspective applies to each one, to convey a sense of depth in the scene.

Looking at your organic forms with contour lines, it looks like you're mostly trying to adhere to the characteristics of simple sausages as listed here, and for the most party you're doing a good job of that. You do however have a slight tendency to have a bit of pinching through the midsection, or the odd one that has one end larger than the other. Try to keep pushing more towards simple sausage, and less towards a bean-like form.

You're doing a good job of drawing the contour lines themselves - they're confident (especially the ellipses), and wrap properly around the forms. Do keep an eye on their alignment though - you have a tendency to have them slant a little, in ways that suggest that you're not entirely focused on how they should be aligning to that central minor axis line. Also, when drawing the little ellipses at the tips of your second page, don't forget to draw through those ellipses.

Lastly, make sure that you don't draw your contour lines to all have the same degree. 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.

For your texture analyses, in a lot of ways you're moving in the right direction. You're focusing largely on the use of clearly defined shadow shapes, and thinking about how those shadow shapes relate to the forms that are present in your textures. Now, I am admittedly not super pleased of how you appear to have roughed in a lot of aspects of your textures with a really faint pen, before going back over parts of them with a heavier one. While it's totally fine to use a brush pen to fill in your shadow shapes, that's not so you can be timid and experimental with an "underdrawing" first.

One other issue I'm noticing is that you don't appear to be utilizing the solid black bar on the far left side of the texture gradients correctly. That black bar is there so students are forced to draw their texture in such a way that it blends the back bar as you move further to the right. In the end, we should not be able to tell where the black bar ends and where the texture begins. In your case, you did control the texture density well in your gradient, but you didn't push it nearly far enough along the left side.

Throughout your dissections you do a good job of continuing to explore a variety of textures and figuring out how to wrap them around an arbitrary sausage form. You generally do a good job of this, and continue to focus well on capturing the cast shadow shapes of those forms. You are however a little more susceptible to relying on outlining those textural forms however ,especially in cases where the textural forms are more easily distinguishable and separate. For example, in your pebble textures, you tend to outline each and every one before figuring out what kinds of shadows it would cast. Same thing with the pineapple, and several others. These notes explain how you should be thinking about this, and how to work without outlines.

In your form intersections, you do both a great job of drawing these forms such that they feel cohesive and consistent within this same space, and also have a good start on figuring out how the intersections work. There certainly is room for improvement, and that is totally expected - this exercise is just there to get students to start thinking about how the forms exist within the same space, and how they relate to one another within that space. We will continue exploring this concept throughout the rest of the course.

I do have one concern however - you've got a bit of a habit of correcting your mistakes, drawing back over your lines when they go awry. In the future, if you draw a mistake and it doesn't work out, leave it alone. Going back over it to fix it is a bad habit, and will only draw more attention to the fact that you messed up. Mistakes happen, but you can't allow them to control the outcome of the drawing as a whole. It should remain entirely within your control, in terms of where the viewer's eye gravitates to, and how it moves across the page.

Lastly, your organic intersections are a good start, although there are a couple concerns I have:

• Your linework appears rather wobbly in a lot of places. Make sure you're executing each and every mark with the ghosting method, focusing on doing so with confidence, rather than hesitation.

• Don't add line weight with a different pen. The only place where you can use a different pen is when you need a thicker one or a brush pen to fill in a shadow shape that you have already outlined. Line weight is intended to be subtle - it's only a slight shift towards making one line a little thicker than another, and that can be achieved by going back over it confidently with an additional stroke from the same pen. It's like whispering to the viewer's subconscious, which will pick up on such subtle changes, not shouting at them to notice the difference.

All in all you're doing a good job - there are however important points that I've laid out that you should continue working on as part of your regular warmups as you move forwards. As such, I'll go ahead and mark this lesson as complete, with the expectation that you'll continue practicing these on your own.