In regards to your choice of continuing to use fineliners, perhaps I should have been more clear that by ballpoint pen, as it can be easy to confuse them with gel pens. Ballpoint pens, which most classically look like this, but also come in a wide variety of retractable forms as well, function kind of like permanent pencils in that their ink can be drawn faintly with very light pressure, and can be built up. This makes it much more forgiving than a fineliner, even if the thickness is the same.

There are other pens - specifically gel pens - which may appear to be the same, but have much richer, darker ink and do not build up the way a pencil does. You can see the difference illustrated here. I strongly recommend you use ballpoint when you move onto Lesson 7, as it will be considerably less demanding.

Looking at your revisions, starting with the structural aspect, I have some points to raise:

• Don't skip over the rims/spokes of your wheels, as you did in 2 and 4. There's no real reason to neglect that opportunity for further practice.

• In number 7, you appear to have only drawn the outward face of the spokes, without the side planes. This makes them appear paper-thin, so be sure to establish a side plane for structures like this.

• I'm unsure what was going on with 7 - it could be that the particular reference was particularly unique, but the way this was drawn suggests more that you may have been copying directly what you saw without considering how it sat in 3D space. As a result, what you attempted to capture may have been a particularly unique spatial relationship, but drawn on the page it falls quite flat, as though it was only ever really considered in the two dimensions of the reference photo.

• Cases like number 8 show the same issue I noted on your original work, where you were continuing the side plane's far edge way too far. I'm suspecting you didn't understand my initial explanation/diagram, so let's try it again.

As shown here, the inner tube of the rim - that is, the cylinder upon which the tire sits - has a front edge in red which is closer to the viewer, and a back edge in blue which is farther from the viewer. The cylinder in the center of the wheel also has a front and back edge. When we draw the spokes that connect the cylinder and the inner tube of the rim, we're drawing edges that extend from the back edge of the cylinder to the back edge of the tube, and edges that extend from the front edge of the cylinder to the front edge of the tube, as shown here. I've also added the edge that runs along the surface of the rim's inner tube in purple, where it connects the front edge to the back edge. Here it is cleaned up a little bit in case that's more clear.

When you drew these spokes, you had both front edge and back edge connect to the front, which is incorrect.

Continuing onto the texture aspect, you are correct in that this is the last time texture really plays a significant role in the course, and you may have more luck when we overhaul those demonstrations - but there is a bit more I can offer right now.

This rough demo explains the thought process in terms of these reminders I linked in my previous feedback.

• First, we look at our reference (which in this case is not something laid out flat, in case that helps to better understand the distinction between simply looking and copying a reference image, and actually attempting to represent the forms it breaks down to). These globs of wax can be identified as individual structures, one at a time. They're not primitive forms, but the focus on simplification is more on breaking them into bite-sized pieces we can focus on individually.

• Using the texture analysis exercise as an example, the next row down (right below the reference image) demonstrates taking those kinds of forms we identified in the reference and arranging them across the gradient. These are not outlines we actually draw - it's what we're thinking about. Note that I'm not saying we have this full idea of all of these individual forms held firmly in our minds - rather, our mind is probably shifting the arrangement constantly, because that's way too much information to retain all at once. For now, the focus is on the fact that we are thinking of these globs of wax as being arranged in a manner informed by the reference image. They're overlapping, they're not all the same size, some are a little more complex than others, etc.

• With this held loosely in mind, we actually start putting marks down. These marks are drawn one at a time for each individual mass, because again - we're not thinking about the whole arrangement all at once, but rather each form one at a time. The marks we're drawing design each individual cast shadow one at a time. We think about one specific form, and then consider how that form would cast a shadow onto the surfaces around it. We are not outlining the forms themselves, nor are we drawing the shadows we see in our reference. These are new shapes that we are designing based on what we understand of how each individual glob sits in space, one at a time.

• Once all of our shadow shapes are laid out, we can fill them in. Filling them in at the end can be helpful, because as we lay out all of our shadow shapes' designs, one at a time, we'll find that they overlap one another in places. That's fine - shadows can of course overlap one another, but we might feel more resistant to doing so if we draw and fill them in all at once.

Now, looking at your work, you're still largely copying what you see, and you're also still filling in existing shapes. I expect absorbing this information will certainly take a lot of time, but it is something you're going to have to revisit and practice in order to conquer - so when practicing on your own going forward, don't avoid it because it's confusing or unpleasant.

Jumping back to the structural aspect, I'd like to work on this a little more before we continue forwards. I'll note your revisions down below.