Just to start, you mentioned that your pen doesn't like to do light strokes. That's pretty much intentional - we use fineliners because they don't allow us to make anything but rich, dark marks. This forces us to commit to our marks, and helps develop good habits. So not being able to make light strokes is normal - though I can see areas where your line thickness varies, with some areas being thinner and others being a bit thicker, so that suggests your pen is working fine.

Arrows

Starting with your arrows, these are much better than before. Your linework is smooth and confident, and the edges of the arrows flow fluidly through space conveying a strong sense of movement. Just be sure of the following:

• Compress the spacing between the zigzagging sections as we look farther back as shown here to better capture a sense of depth in the scene.

• When adding line weight, execute that mark confidently, using the ghosting method. A more confident execution where your pen lifts off the page before it comes to a stop will help make the end taper, blending it more seamlessly into the underlying strokes.

Organic Forms with Contour Curves

Moving onto your organic forms with contour curves, there are a number of problems here:

• Your sausages do not adhere to the characteristics of simple sausages. This is something I spent some time going over in your last submission, but there are very clear signs that you're not actively trying to stick to these kinds of shapes. You've got an ellipse in there, you've got sausages with ends of wildly different sizes, you've got sausages that widen considerably through the midsection. This seems less like you not understanding what the characteristics of simple sausages entail, and more like you just forgot what you were to be addressing. In your last submission, specifically this page, you were noticeably closer.

• The contour lines in the bottom left corner employed the "overshooting" technique that helps us ensure better curvature to our contour lines (as explained here). You didn't employ this technique in the rest of the sausages however, and many of them came out very shallow. There are some that were curving decently in the middle sausage, but it looks like you didn't want to use the overshooting technique, despite the fact that you're encouraged to do so. They're like training wheels - they help a great deal, but you have to practice with them a lot more than you've done here, in order to get used to that curvature, and it is perfectly fine to overshoot your curves throughout this whole exercise, and even throughout this entire course.

• You're not drawing through your ellipses two full times before lifting your pen as discussed back in Lesson 1.

Texture Analysis

Moving onto your texture analyses, these are moving in the right direction. You're doing a great job of creating a smoother gradient from one end to the other, and I'm very happy about that. That said, there's one key issue - the filled black shapes you're using here are form shading, as I've pointed out here. I want you to read through my notes on that page. I am however happy with your progress here, and we won't be pushing harder on this front. Just be sure to follow what I've written there, and maybe review it every now and then.

Form Intersections

Now, moving onto the form intersections, there are still issues.

• I'm not seeing any real signs that you're consistently applying the ghosting method to your markmaking. Since the ghosted lines exercise in Lesson 1 (which was recently rewritten with new video content, so you should probably check it out again) has students drawing their straight lines by laying down a start and end point during the planning phase, reasonably an exercise consisting heavily of straight lines should have plenty of little points visible on the page, but I don't see any in your case. I just looked back at my old critique, and I apparently said the exact same thing.

• While some of the box constructions are okay, there are others that show you clearly rushed into drawing your lines without thinking about how the given mark needs to be oriented in order to converge consistently with the other lines in its set - as per what we learned in the 250 box challenge. This is largely another sign that not much time was invested into the planning phase of the ghosting method.

• Your ellipses are coming along, but they're definitely still a bit stiff. You can and should employ the ghosting method (that is, the three step planning/preparation/execution process) to ellipses as well, and be sure to use your whole arm. Drawing with your wrist, as well as executing with hesitation instead of confidence is what causes wobbly, uneven ellipses. Using the ghosting method and drawing from your shoulder helps tighten up your ellipses and keep them even.

• You made an attempt at the intersections themselves, so that part's fine - although the lines with which you drew those intersections are really shaky and hesitant. There's no reason to be drawing them any differently from any other lines - and if you're using a different kind of pen, don't.

Take a look at this video. It's a full length recording of ScyllaStew doing the form intersections. It's actually one of 3 videos, because she broke that exercise across 3 separate days, each sitting lasting 50 minutes to an hour. In it you'll see how much of that time she invests in every single mark she draws, planning and preparing as much as is needed to deliver the best of her current ability.

I don't expect you to necessarily be able to make marks as well as she can, but I want you to understand that the process applied in order to achieve them largely comes down to the time invested prior to making the mark. The ghosting method is incredibly important, and the fact that I am still not seeing any signs of you using it suggests that you're not paying attention to the feedback you're being given.

Organic Intersections

Lastly, if we ignore the contour lines altogether, this exercise wasn't too badly done. Your addition of line weight is still scratchy and hesitant, and your shadows don't appear to be entirely consistent (some forms seem to cast them onto the surfaces below them, others don't), but the sausage forms themselves are much better.

One issue I did notice is that you've got a gap towards the upper right (when the page is turned right side up), as shown here that looks like you tried to "fix" it by filling it in with solid black. If there is no surface upon which a shadow can fall, you should not be filling anything with black. Solid, filled black shapes are reserved for cast shadows only. Aside from that though, you are doing better in understanding the relationships between the forms in space.

Honestly, there are bigger concerns in this lesson, so I'm not going to dwell on this.

Conclusion

As a whole, you have shown improvement in a number of areas, and in as many areas you've shown that you aren't always aware of the feedback you've been given. If reading through the feedback isn't enough for you to remember it as you work through the exercises (which is entirely understandable, and normal), then you should be actively rereading it in order to ensure that you do not forget what is being asked of you. Having to repeat the same core principles - like the importance of using the ghosting method for every single mark you draw, or stressing the use of simple sausage shapes - is not a good use of my time.

You're going to be given one more opportunity at this. I'm assigning revisions below for you to demonstrate your understanding of what I've laid out above, and my response will be strictly pass/fail. If you complete the exercises well enough for the lesson to be marked as complete, you'll be allowed to move onto lesson 3. If I feel you're still repeating mistakes I've called out here, I will be sending you back to Lesson 1 - not as a punishment, but because I feel it will be necessary, as the mistakes made here are showing that you're not likely practicing the exercises from previous lessons as warmups, and have become too far detached from them at this point to be able to move forwards.