Jumping right in with the arrows, looking at the core aspects of the exercise (by which I mostly mean, ignoring the chicken scratchy line weight, which I'll address momentarily), your work here is coming along well. You're making good headway in controlling those zigzagging strokes whilst maintaining consistent widths throughout. There are however two main things you can work on to continue pushing this exercise in the right direction:

• When it comes to the width of the ribbon, keep in mind that as it moves away from the viewer, the ribbon's width will appear to decrease. Right now you're maintaining roughly the same width, which is essentially the first step as it can be quite challenging to keep the width consistent as you freehand both sides of it, but now you're going to want to shift to getting the width to get narrower at a rate that is consistent relative to how far back in space it is moving. To be fair, though the first page didn't really include much of this, the second page did move towards considering it more, so you're already headed in the right direction as far as that's concerned.

• Where the width of the ribbon itself can be considered "positive space", the negative space (the gaps between the zigzagging sections) will also be compressed as a result of perspective, so the other area where you can continue to push your work here is in having those gaps shrink as well, based on how much farther back away from the viewer they are.

For more info on both of these points, you can check this section as well as this one.

In regards to the addition of line weight and the chicken-scratchy way in which you've gone about it, there's a few things to keep in mind:

• Line weight should be kept subtle, and limited. I can see that you are trying to focus it on the areas of overlap, per the instructions from this section from Lesson 1

• It is important however to keep in mind that you should not be prioritizing things that will cause your results right now to come out better. That's essentially why we tend to fall back to old habits like chicken scratching - we're not confident in our ability to execute smooth, consistent marks while keeping them accurate, and so we change the immediate demands. Unfortunately this sidesteps that which makes the work we're doing - which are exercises, where we're meant to make mistakes - useful, by changing the nature of the task. Regardless of what the outcome is, you should always be adhering to the principles of markmaking from Lesson 1, which always puts a confident, continuous stroke, above one that is accurate. And furthermore, if you make a mistake when adding line weight (or in anything else), that mistake should be left to stand for itself, both as a reminder to you of what you might adjust in your approach next time (if any such thing is revealed), and as a flag for the person providing you with feedback to pick up on, so they can advise you accordingly.

Continuing onto your organic forms with contour lines, more broadly I'm happy to see that you're mindful of maintaining the characteristics of simple sausages. Where you run into issues with that, it's not because you're failing to intentionally aim for those characteristics, but rather other underlying hiccups that interfere. For example, cases like this where the point at which the shape is closed (where the stroke starts/ends) causes this sort of pinching, this is more of an issue that results from not quite knowing what all you need to be considering, and I can clearly see improvement on this front even within that same page, showing that you're aware and addressing the issue.

For the contour ellipses, I did notice that their alignment to the central minor axis line is a point that you do tend to have trouble with as well, and this is an area where I'm unsure if you're as aware of it as you might be. The tendency suggests that you may need to be more mindful of how you're rotating your page (per the planning phase of the ghosting method, which we apply to all of the marks we freehand throughout the course) - if you're resisting or forgetting to rotate the page, you might be trying to make do with a "close enough" orientation that is far enough from what would be comfortable that your arm tries to revert to drawing an ellipse that would be more comfortable, setting it at more of an angle to what you intended. Long story short - make sure you're thinking about what angle would be comfortable for what you need, and keep it in mind so you don't inadvertently end up trying to skip it.

Additionally, I noticed that the degree of your ellipses and contour curves tends not to show as much conscious shifting as you slide along the length of the sausages - either due to an absence of shifting in degree, or a tendency or it to change randomly rather than following an established pattern across the sausage as a whole. Remember that the degree of your contour lines tells us how the cross-sectional slice is oriented. The narrower the degree, the more the sausage is, at that location, flowing across our field of view rather than directly towards or away from us. There are a few things to keep in mind:

• Because the ellipse at the tip is just a contour line like any other (we draw the full ellipse here simply because the whole thing would be visible, whereas the other partial curves are also conveying what would be visible based on the viewing angle), the ellipse should be similar enough to the contour curve preceding it, as any other contour curve would be to its neighbouring curves. Right now you tend to draw them as though they are independent of one another, resulting in ellipses that are considerably wider than the contour curve immediately before them.

• If you intend a sausage to flow relatively straight, then by default as the sausage moves away from the viewer your contour lines' degree will increase, getting wider.

• Conversely, you can end up with situations where the degree starts reversing its shift, but this is something that would occur due to how you intend the sausage to sit in space. If it bends, for example, this might occur. More broadly though, since the degree is directly related to the orientation of that cross-section, another point to keep in mind is that the spacing between the contour lines may also be impacted by this. For example, if we have a sausage that is coming towards the viewer, the degree of the contour lines will generally be very wide (since they're facing the viewer head on), but similarly much of the sausage's physical length will exist in the "unseen" dimension of depth (as opposed to being more directly measurable on the page, which occurs when the sausage is oriented to flow across the viewer's field of view), your cross-sections will be so close together that they'll be very much overlapping one another. That spacing can also convey the behaviour of the form in space, since the viewer will generally assume that they're spaced out evenly in 3D space, and therefore any irregularities in that spacing will likely be caused by its orientation, and the sense of depth in the scene.

For the first two points, you can refer to what I've marked out here on one of your pages.

Continuing onto the texture section, one thing to keep in mind is that the concepts we introduce relating to texture rely on skills our students generally don't have right now - because they're the skills this entire course is designed to develop. That is, spatial reasoning. Understanding how the textural forms sit on a given surface, and how they relate to the surfaces around them (which is necessary to design the shadow they would cast) is a matter of understanding 3D spatial relationships. The reason we introduce it here is to provide context and direction for what we'll explore later - similarly to the rotated boxes/organic perspective boxes in Lesson 1 introducing a problem we engage with more thoroughly in the box challenge. Ultimately my concern right now is just how closely you're adhering to the underlying steps and procedure we prescribe (especially those in these reminders).

All that said, you've actually very clearly put a lot of work into trying your best to apply the concepts - especially those focusing on cast shadows, which is very noticeable in your texture analysis work, and to a lesser but no less laudable degree in your dissections - and as a result, your work is already demonstrating a level of comfort with these concepts that we don't really see often at this stage. So, well done on that front!

Similarly to the texture material, the form intersections themselves also rely on spatial reasoning skills, so I'm mainly interested in checking whether students are moving in the right direction, rather than actually applying them correctly. They'll come up again as part of the assignments for Lesson 6, at which point students are generally much more comfortable with understanding 3D space that they can make better use of additional notes and resources that simply would be overwhelming right now. They also come up in Lesson 7, so worry not - this won't be the last time we look at them.

In your case, you're doing a fantastic job of being mindful of your linework - while I'm not always seeing the tell-tale signs of the ghosting method, your linework is consistently smooth, straight, and even, so it appears to me that you are adhering to them throughout. When it comes to the intersections themselves, this is the only page where you're really giving them a fair shot, with the others either having no visible intersections, or where you might be instead just drawing back over the silhouettes of the forms themselves, instead of introducing a new line to define the joint between them. While this last page is definitely an improvement on that front, I did want to share this quick diagram with you, which explains that all we're really looking for at this moment is that you draw your attempt at the intersection lines within the overlap between the forms in question (the green zone in the first part of the diagram), and that you don't simply draw along the edges of the forms (the bright red section of the second part). As long as you're sticking to that, you should be in a good position for the spatial reasoning skills, as they develop through the constructional drawing exercises from lessons 3-7, will play their role accordingly when you practice this exercise in the future.

Lastly, your organic intersections are coming along well, with just one main issue I want you to keep in mind: don't make your sausages very... wibbly. Or wobbly. Or flaccid. Basically think of them as being flexible, but still rigid enough that they're not going to sag down into every little gap beneath them.

All in all I've noted a number of areas where your work can be pushed further in the right direction, but all in all you're progressing well - so I'll leave you to apply this when practicing these exercises in your warmups, and where they may come up again in the assignments. You can consider this lesson complete.