To start, your arrows are flowing very nicely and confidently through space, and you're doing a good job of applying perspective to the positive space - that is, the width of the arrow's ribbon. One thing that is somewhat less present however, is the effect of perspective on the negative space, the distances between the zigzagging sections as they move farther away from us. Keep this in mind - as we look farther back, those gaps will tighten, eventually resulting in overlaps. This can help you convey the sense of depth in the scene as a whole.

You've got a good start with your organic forms with contour lines, though while I'm noticing that you're definitely trying to keep your sausage forms simple, you do have some ways to go in order to fully meet the characteristics listed in the instructions. We want our forms to be essentially two equally sized spheres connected by a tube of consistent width. You've got a number of these where the ends are of different size, or where they're more stretched than spherical. Keep an eye on that moving forwards.

I can see that in your contour ellipses, you're thinking about how their degree shifts naturally along the length of the form, depending on the specific cross-section's orientation relative to the viewer, and that's fantastic. It is, however, missing from your contour curves, where the degrees have been drawn to be much more consistent. Keep that in mind, as having the degree shift naturally will help you make your sausages keep from appearing stiff.

Really excellent work on the texture analyses. You're doing a great job of nailing the impression that the marks you're putting down are shadows that imply the presence of textural forms, rather than outlines that clearly define each textural form on an individual basis. This leaves you with far greater control, which you exhibit effectively to create clear gradients from dark to light. Very, very well done.

In your dissections, you're doing fairly well, though I do find that here you're slipping back into using outlines a little more, so keep an eye on that - the same principles from the previous exercise apply here, so always focus on the shadows the little textural forms cast, rather than on drawing each textural form explicitly.

Your form intersections are actually looking pretty good, minus two points:

• Most significantly, when going back over them to add line weight, you appear to slow down and trace over your lines, instead of continuing to apply the ghosting method to achieve smooth, confident strokes. This causes your lines to wobble more, undermining the solidity of the underlying form. Every single mark, even line weight, must be drawn with confidence, and tracing over your lines is a bad idea, as it encourages you to think in terms of how the lines sit on the flat page, rather than how they are edges moving through 3D space.

• In the instructions, I mentioned that you should avoid forms that are stretched in any one dimension, sticking instead to those that are equilateral (roughly the same size in all three dimensions). I can see a number of longer cylinders here, so be sure to avoid them in the future as their introduction of more dramatic foreshortening can make an already difficult exercise more challenging.

Now, it's important that you understand that this exercise has two focuses - firstly, I want to look at whether or not you can draw forms within the same space such that they feel cohesive and consistent, and you've done that well. Secondly, I want to introduce the idea of how these forms intersect in space, and how they relate to one another. This is just the start, and as a concept it is something we delve into throughout the course in its entirety. As it stands, you're actually doing a pretty good job of this in many cases, even though there are some more complex intersections that aren't quite working out right.

This is expected, and it is something we'll continue to develop and work on as we move forwards. As such, there won't be additional resources or tips and tricks to improve them now, as you're already performing slightly above where I'd expect students to be in this regard.

Lastly, your organic intersections are looking great. You're doing an excellent job of conveying how these are not simply flat shapes pasted on top of one another on the page, and are also capturing the illusion of weight in how each one sags and slumps over the one beneath it.

Keep up the great work. I'll go ahead and mark this lesson as complete.