Starting with your arrows, you've got these flowing quite nicely through space. Two things to make a point of, however:

• Always get in the habit of enclosing your forms. Towards the beginning you had a lot of these arrows with open backs, where the edges would run parallel to one another, and then just stop. While this matters less with flat shapes, having the habit of enclosing your forms and shapes will help reinforce that they exist in 3D space.

• You're currently applying perspective to the positive space - that is, the width of your ribbons, which gets narrower as it moves farther away from the viewer. You aren't however applying it consistently to the negative space, which includes the distances between the zigzagging sections. Perspective applies to all space, and causes it all to compress as we look farther back.

Moving onto your organic forms with contour lines, you're clearly striving to draw simple sausage forms. There is some improvement to be had on this, but you're mostly doing a pretty good job. Just keep focusing on keeping the ends of your sausages equal in size, and spherical. A few of them tend to get a little stretched out.

For the contour lines themselves, they are being drawn a little stiffly, which suggests to me that you're prioritizing their accuracy over the flow of the linework. As discussed back in Lesson 1, flow is always your first priority. Accuracy is important, but only once you've pinned down the confidence of your stroke. As always, applying the ghosting method will help with this, as it breaks the process of mark making into steps, each with its own responsibilities. Always remember that the final step - the execution of the mark - is all about drawing with confidence, and free from hesitation.

Looking over the contour lines and specifically their degrees, I feel like there are slight hints that you understand how the contour ellipses and curves ought to widen or narrow along the length of the form. That said, there are plenty of cases where they're drawn as being relatively consistent throughout, which suggests that we may need to revisit this point a little more directly. The degree of the contour line represents the orientation of that cross-sectional slice relative to the viewer, as shown here. It should get narrower or wider as we slide along the form.

Moving onto your texture analyses, you're definitely taking a big step in the right direction - specifically in how you're confidently and boldly using large shadow shapes rather than getting stuck with lines and outlines to define each textural form in an explicit manner. One thing to remember however is that as we move towards the sparser end of the gradient, where the light source hits our surface more directly and blasts those shadows away, the key thing to remember is that the shadows that manage to survive are not arbitrary or randomly selected. The ones that last the longest are those that get caught where multiple forms converge, as shown towards the bottom of this diagram.

Also, I suspect that you may not have been employing your reference images enough when working on the gradients. The direct studies along the left side of each row demonstrated phenomenal observational skills, but the gradients themselves were vastly more simplified. While we are manipulating those textures to our own purposes, you should still be pulling that information out of your reference images. You improve upon this substantially in your dissections, where you pull that information out and then manipualte it to your purposes. There is still room for improvement in actually transitioning from dark to sparse (you tend to stay pretty close to a sort of middle-density throughout the entirety of many of these dissection textures), but you're clearly moving in the right direction.

Moving onto your form intersections, I think you're largely doing a pretty good job here. Your individual freely rotated boxes do still need some work, in terms of getting those sets of parallel lines to converge more consistently (so continue incorporating the box challenge type exercises into your warmups, line extensions included), but all in all they are looking very solid. You're drawing the various forms together in a manner that feels fairly consistent and cohesive, and you're also demonstrating a good grasp of the spatial relationships between those forms with the intersection lines. This last point is something we're merely introducing here, as spatial reasoning is a core concept that we address over and over, exploring it throughout the rest of the course as a whole. By presenting it here for the first time, we're able to plant the seed in the student's mind that will eventually grow and flower. For now however, you are showing a considerable comfort with it, and that puts you at something of an advantage.

Lastly, your organic intersections are coming along nicely. You're conveying the interaction between the forms in a believable fashion, pushing past the idea that they're just flat shapes on a page, and really selling the sense of gravity that forces them to slump and sag against one another.

All in all, your work throughout this lesson is quite well done. I'll go ahead and mark the lesson as complete.