Well damn, ten months is a really long time. A lot of students, given that kind of a gap, will exhibit a fair bit of regression in their primary skills and habits (might forget to apply the ghosting method as consistently, might not draw their ellipses as evenly and confidently, etc). One might also forget key parts of the critiques they've received.

I do understand that your work has been done over the course of as many months, and so you may indeed have forgotten certain things - but as a whole, your work here is pretty well done. There are a few issues I'll address, but all in all you're doing a good job. Just make sure that you do go back over the material from previous lessons (reading through them, and also incorporating those exercises into your warmups). Certain parts of the material have been rewritten and certain videos have been recorded for the sake of clarity. Lesson 0, for example, has been completely rewritten and is definitely something you should look over. As has the texture section on Lesson 2, so definitely give each of these time to let them sink in. You don't need to submit the homework over, but just make sure you give yourself a chance to process that information.

Looking at your constructions here, you're largely doing a good job of drawing your complex objects by building up from simple base elements, gradually increasing complexity by adding more simple forms. This approach helps maintain the illusion of solidity, and you're applying it well throughout.

There are just a few things I'd like to point out:

• As shown here, make sure you draw each and every form in its entirety - don't cut them off when they're overlapped by another form. Draw each one completely, then sort out how they intersect or relate to one another in 3D space. This allows us to continue regarding each form as something three dimensional, so we can understand how it sits in space and how it relates to its neighbours.

• In this drawing, you drew each ball form confidently, drawing through your ellipses. Then you went back over them with a much slower stroke, tracing over them to replace that confident linework with something "cleaner", but also much more hesitant. Don't do this. Always focus on keeping your lines confident and smooth. When you add line weight, don't add it to the entirety of a line or along the whole silhouette of a form - focus it on key, short areas to clarify specific linework, and apply it with the same ghosting method you'd have used when drawing the original stroke, again focusing on a confident execution. Tracing is a bad habit, as it focuses on how the line exists on the flat page, rather than recognizing it as an edge moving through 3D space.

• Also, in regards to the drawing above, when trying to capture the impression of a sphere, using a contour ellipse along one of the "poles" of the form as shown here is generally more effective than trying to wrap a contour curve around the midsection.

• On your last page, a few things - firstly, don't forget to draw through your ellipses. Secondly, a drawing like this definitely needs more space, so cutting off extraneous branch forms and focusing on specific portions will allow you to use more of the page, and will allow you to better engage both your brain's spatial reasoning skills and your whole arm when drawing the lines. Only doing one drawing on that page would also afford you more space. Thirdly, you seem to be forgetting how the line overlap in the branch technique works. Refer to this diagram. And lastly, don't fill objects in with solid black to capture their local colour being black. The only thing you should be filling with black are cast shadow shapes. Just as we don't attempt to colour things in with brown, green, red, etc. and envision them as having the same local colour all over, we do the same with areas that are black.

So! You've got a few things here to keep in mind, but all in all you're doing quite well. I'll go ahead and mark this lesson as complete.