Starting with your arrows, you've got some varying results. Overall your arrows are coming out okay, but there are a few issues I see coming up here and there:

• In a couple spots I see the issue explained here, where you try to keep the arrow flat rather than letting it twist.

• Sometimes you capture a good sense of foreshortening, where the gaps between the zigzagging sections get narrower as you get farther back, but in most cases you tend to ignore this, making the arrow feel more like it is flowing towards the surface of the scene without moving through its depth.

These are both pretty normal issues, and things that will go away as long as you're aware of them, and continue to practice. In general though, I encourage you to draw your arrows larger on the page. This will engage use of your whole arm, and will help your brain think through the spatial problems involved in moving through a 3D world.

Before we move on, I noticed that you're drawing in a sketchbook, and that the paper you're drawing on does look like it might be sketch/drawing paper intended for charcoal/graphite or other dry media. Drawing on that with a fineliner is a bad idea, as not only will it look more dry and not quite work as intended, it'll also absorb ink way faster, draining your pens more quickly than it should. I strongly encourage you to use printer paper instead, as mentioned back in lesson 0.

Anyway, moving onto your organic forms with contour lines, you do appear to be having a bit of trouble in drawing sausages that fully adhere to the characteristics of 'simple sausages' as mentioned in the instructions. You're not far off most of the times, but you do end up in situations where your sausages have ends of different sizes, or where the midsection tends to pinch a little rather than maintaining a consistent width. Moving onto the contour ellipses, while you're certainly drawing them with confidence, you're drawing through them a little bit too much. To avoid them getting too hairy and losing track of the specific ellipse you wish to draw, it's best to draw through them two full times before lifting your pen - no more, no less. Your contour curves are definitely much better controlled in most cases, while maintaining the intended confidence.

Just remember - if you make a mistake, do not go back to correct it. It's a bad habit to get into, and it just draws more attention to the mistake.

The only other thing I want to call out is the tendency to draw your contour curves with roughly the same degree throughout the length of the sausages. 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.

Moving onto your texture analyses, you're doing a good job of focusing in on the use of clearly designed shadow shape, and you're leveraging them fairly well to control the density of your texture. My only concern is with the top row, where your texture appears to change in its nature halfway through the gradient. For the purposes of the gradient, it's important to stick to the same general mixture of texture, just increasing/decreasing the density from left to right. Changing it halfway through kind of defeats the purpose of the exercise, so beware of that.

You continue playing with textures quite well throughout the dissections exercise, with a lot of different experiments going on. This page is especially coming along well, although this one tends to end up with more simplification of the textures, likely due to drawing more from memory rather than direct observation/study of your reference images. The only other thing I want to draw your attention to here is the importance of always drawing shadow shapes, not outlining the textural forms as explained here.

Looking at your form intersections, you're making progress in terms of getting these forms to feel cohesive and consistent within the same space, though there are a number of concerns to address:

• First and foremost is your line quality. You're often going back over lines to correct mistakes (again, bad habit, don't do it). You're also drawing through your ellipses too many times, as I explained before. Overall you need to make sure that you're applying the ghosting method to every single mark - that means planning and preparing before every stroke, and never drawing anything by reflex.

• When drawing cylinders, remember that the ellipse closer to the viewer is going to be larger over all, but proportionally narrower, than the end farther away. This can sometimes be confusing, as students get caught up in the idea of something being both larger and narrower at the same time. You can refer to the notes on the cylinder challenge page to better understand this.

• When it comes to the actual intersections, I saw a handful individual attempts at figuring out how the forms intersect with one another across all four pages. This aspect of the exercise is intended just to be an introduction to the idea of thinking about how the forms relate to one another in 3D space, and how those relationships can be defined on the page. I by no means expect students to have any prior experience or comfort with this - just that they make the attempt. While you made a few such attempts, I'd say you largely gave into the fear of making a mistake and neglected to really explore this challenge enough to consider the exercise completed.

Lastly, your organic intersections have an okay start. This page shows how the forms interact with one another in three dimensions, rather than just as flat shapes stacked on a flat page. You're also capturing an illusion of gravity in how they slump over one another. It would have been nice to actually have them sitting on a ground plane (resulting in shadows actually being cast upon a flat surface beneath them), but all in all this page was reasonably well done.

The other page had similar qualities, although there were subtle little gaps between forms that somewhat undermine the illusion of gravity and stability over the whole set. You're getting there, but I think that with more practice, you'll be able to improve a fair bit with this one. Aside from these points however, I do feel like your linework overall can definitely stand to be more confident and smooth. There's a subtle sense of rigidity, and I can't pin down whether it is a matter of how you draw the lines, or if it is all coming down to how your pen is actually interacting with the page. There's a lot of subtle hindrances that the wrong kind of paper can cause.

While you're close, I'm going to assign a few additional pages before I mark this lesson as complete. I'd like you to do that assigned work on printer paper ideally, not in your sketchbook. You'll find the pages assigned below.