Hello. I'm Hollahey, here to try to help. This is what I think (although this is not official cru+itique, of course, so take it for what it is):

ORGANIC ARROWS:

You did a good job overlapping edges and making the far end of the arrow narrower. This is not mentioned in the lesson, only my own recommendation, but I would suggest doing more versatile arrows, like coming towards the viewer in circles, overlapping over itself more etc. I found that it was quite hard to get an arrow to really overlap itself, so I suggest you try it. There is some wobbling to your curved lines sometimes though so try working on that – really use your shoulder and be as confident as you are with the straight lines.

ORGANIC FORMS WITH CONTOUR LINES:

The degree of your ellipses changes very nicely and describes how the form turns in space, making the forms feel solid as a result. You also draw through your ellipses which is good. It seems you have a bit trouble aligning them, but since it is clear you know what to aim for, I wouldn't obsess over that. The major thing, I would say, is that your lines are again quite wobbly– try to really use your shoulder and don't worry so much about accuracy, especially since these forms are organic.

With contour lines it seems you are focusing too much on accuracy – a smooth stroke will describe the shape better (even if not perfectly accurate). You are still changing the degree and accelerating your curves which is a good thing, so keep it up.

TEXTURE ANALYSIS:

The direct study of the crumpled paper seems quite OK, but I cannot really judge its accuracy since I don't know which reference was used. Just talking from experience though, the shadows seem a bit narrow (but that could be a reference thing). On the dark-to-light part there seem to be more issues. On the light part you did well, but the dark one seems more like what should be in the middle. Imagine the dark bar as a complete shadow, not just a patch of ink on your paper. If you would turn the light up just a bit, what areas would you see first? It is quite hard to do that with paper since there are just a number of different shades of grey shadows, not a clear black and white scene. You can, however, try to locate the darker shadows, lighter shadows, and separate them into different groups based on how light/dark they are. Then decide which shade would still be visible in a certain area of light. I found it helpful to actually crumple up paper myself and then turning it, even photographing it in different lighting, to really get the feeling for it. This goes for other textures as well – try drawing things you see at home, so that you will really 'feel' the texture in all of its 3D form-ness, not only see it on a flat surface. I also found it helps if you try visualising it – how would it look like if you were really tiny, walking along its surface and different things like that – just makes you have a 'feel' for it more, I guess.

I'd say you did a pretty good job with the stone wall. Maybe it would be better to do larger shadows on the dark side, as it kind of feels like the majority of the left side is more what would be in the middle – on the far left side we would only be able to see the absolute lightest points. Maybe there is also another issue at play. Again, I don't have the reference you drew from, but based on just how wide the shadows on the individual stones are, it seems as though the stones are really deeply cut into at some points and have very large protrusions – I would try making them a bit narrower. This would be more important in the darker sections, because shadows of such large protrusions would be relatively much bigger than what you drew, I'd say. They would just generally begave differently, but again, I don't have the reference so I can't say much more.

You seem to have a similar problem with the third texture, where you are afraid of making the shadows really big and strong. Again, think of the black bar as complete darkness – when you are going into that darkness, the shadows merge together, including detail. Remember, that the most detailed part is in the middle, not at the darker side, because the darker you ger, the more the shadows merge together. Be bold with your shadows, it is only an exercise and the more things you try, the more you will learn.

DISSECTIONS

On the first photo, the top texture on the form on the left, you did break the silhouette well, but it doesn't seem like the texture is really wrapping around the form. Think of how the contour curves accelerate towards the ends and try achieving that effect. I'm not sure if you did it on purpose, but there doesn't seem to be much light-shadow play going on either. The texture itself is not bad though. I love the cracked concrete wall next to it as well. With the scales, you conveyed the roundness of the form and light-shadow well. But the stone wall next to it seems a bit too light – the shadows would be better if really filled in with black.

The frozen wall is well done, it really seems as though it is wrapped around the sausage. About the wet ice, I'd suggest that, if you have no light or a very dark part of the texture on the side, the forms that break the silhouette would just be completely black . It also doesn't seem like it belongs on the same sausage as the frozen wall because the lighting seems very inconsistent. Also, on the stone wall on the second page it seems like you outlined the parts in the light instead of only drawing the deepest shadows.

In order for me to not write a whole novel here, I won't go over every single texture, but generally you seem to have problems with keeping the dark, less lit parts of the forms truly dark and exaggerating the roundness of forms (or the compression that occurs on the edges) and exaggerating in general. I feel it is a good thing to practice, because it really forces you to think of the form as 3D.

FORM INTERSECTIONS

Your lines are mostly very confident, which is great. You also seem to have a great understanding of space, based on how well your forms are drawn in perspective. They also seem to have a quite consistent rate of foreshortening and feel like they fit in the same space.

I don't feel comfortable really saying more, because I had a lot of struggles with this exercise myself and I just don't want to be saying wrong things. I helped myself with 3D Painter, if you have it installed, where you can check all of your form intersections – it is really quite useful.

ORGANIC INTERSECTIONS

The forms generally feel well stacked on top of each other, they feel quite solid, but some of them lack shadows or line weight, which creates an amount of confusion. There is also a bit of an issue with wobbling again.

I hope this was helpful. I'm sorry for how long it is, I hope it wasn't too bad. Anyway, to me you seem to generally understand what to aim for and you’re doing very well. I'd say you need to work the most on your wobbly lines and really being bold with the shadows. Your strongest point, I'd say, is how well you understand space and know how to draw forms in it, which is probably the most important thing of all.