Starting with your arrows, you've largely done a good job of drawing them such that they flow fluidly across the page. I did notice however that where you had an overlap at the top of the first page, you didn't just draw both arrows in their entirety. I actually mention this with the example:

Also, as you can see here, I don't worry too much about letting my arrows overlap each other altogether. I don't want to feel restricted in my exploration of space, so I'll draw the edges however I please. If one ends up on top of another, it's no big deal.

Also, keep in mind that as the arrow moves away from the viewer, the distances between the zigzagging sections will grow tighter as perspective compresses all space - not just the size of objects themselves, but also the distances between them.

Moving onto your organic forms with contour lines, these are honestly kind of lacking in a few ways:

• There's a lot of empty space on the page. It's always good to push yourself to draw bigger, taking advantage of the space that is available to you first and foremost (as this helps us work through spatial problems, and also allows us to fully engage our whole arm more easily). Once we're comfortably making use of the space, we then should push ourselves to actually fill things in. These exercises are here to help you learn, so if you're leaving such massively empty areas on the page, then it suggests that you're not seeing it that way.

• Your sausage forms, as explained here in the lesson, have specific characteristics they should be adhering to - specifically they should have circular ends of equal size and a midsection that remains consistent in width throughout its length. I get the impression that you were aware of this, but that you struggled quite a bit with both of these aspects, as you've got plenty of pinching through the midsection, ends of different sizes, and ends that are more stretched than circular.

• Your contour ellipses tend to be quite loose - you may be drawing more from your elbow or your wrist rather than your shoulder, which may be a side-effect of drawing smaller than you should be. Your contour curves on the other hand tend to look quite stiff, which also suggest using your wrist rather than your shoulder.

• The degree of your contour lines tend to be very consistent. 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 are demonstrating a clear focus on trying to study your references carefully and to identify the details that are present there. I think the fact that you've clearly started to focus more on larger black shapes does suggest that you're starting to grasp the concepts covered in the lesson, though there is still room for improvement. This is totally normal - texture is not a concept that students are expected to have prior experience with. We're just introducing it at this point, as something to think about.

The main issue I'm seeing here is that you are still, in a way, breaking your surfaces up with lines. Some of those lines are very thick - which is at least a good start - but the key point we need to grasp here is that every mark we draw needs to actually relate to a specific three dimensional form that is present along the surface we're studying.

It's really easy to look at a leaf and to see lines - thick lines, thin lines, etc. but we need to think about what exactly is producing those lines. Lines don't actually exist in the world, so when we perceive them, we need to identify what their source is. In many cases, those lines are shadows being cast by a physical bit of form that is present. A bump, a scale, a depression, etc. Don't draw a mark to represent what you see until you can identify what exactly is causing it. Then, think about how the mark you're going to draw actually relates to that form - how it is a shadow being cast upon that surface.

A lot of the texture analyses show a tendency to just find gaps, and then fill them with ink, as though you're pouring a liquid into grooves. For example, if we look at the stone brick texture, the forms in question are the bricks themselves. If you're just filling in the spaces between them, your cast shadows don't actually convey any information about the forms that are casting them. Furthermore, the surfaces onto which the shadows are being cast are themselves three dimensional. A shadow from one brick might be cast onto another, and a bit of light might still manage to hit the side plane of a brick. If you're just filling in the gaps, then you're not actually factoring any of that in.

Similarly, looking at the leaf texture, here the forms in question are actually veins that run along the surface of the leaf. You've captured each of those in black - so instead of drawing the shadows those veins cast, you've just filled in them in with black, which kind of flattens things out.

While I've laid out a lot to think about on this topic, you've actually showed clear improvement in the dissections exercise, and a good step in the right direction. I do however recommend that you take a look at this section, as it should help iron out some issues, especially in some of the textures where you end up with a lot of individual textural forms (like scales). You have a tendency to fall back to outlining forms there, instead of focusing on cast shadows, and it limits your ability to actually move between different levels of density more seamlessly.

Moving onto your form intersections, these are decently done. You've drawn the forms such that they feel reasonably cohesive and consistent, and you've got a good start on exploring the form intersections. Similarly to the matters of texture, the intersections are an introduction to the idea of the relationships between our forms in 3D space, and I don't expect students to be able to do these particularly well just yet. It's something we'll continue to explore in later lessons, and just a seed I want to plant in your mind for the time being.

I do want to mention one thing however - you're demonstrating a tendency to go back over your lines to correct mistakes. This is a bad habit, as it only draws more attention to your blunders. It's usually best just to leave them alone.

Lastly, your organic intersections are coming along fairly well. You've clearly established how these forms intersect in 3D space, and have developed a strong impression of gravity in how they slump and sag over one another.

All in all, you've got some stronger areas and some weaker ones. Before I mark this lesson as complete, I would like to address the organic forms with contour lines once again.