Starting with your arrows, these are looking great. You're doing a good job of both capturing the flow and fluidity of how these arrows move through space, while also applying perspective effectively to both the positive space (the width of the arrow's ribbons) and the negative space (the spacing between the zigzagging sections) in a relatively consistent manner.

Moving onto your organic forms with contour ellipses, I am noticing greater stiffness to your linework here. You're generally doing a good job of applying the concepts (except in a few small ways you're not entirely sticking to the characteristics listed here for your sausages - you're very close, but some of your ends are not quite spherical and end up looking a little pointier), but there's definite hesitation as you actually draw the marks instead of executing with full confidence. At the end of the day, the ghosting method, which should be applied to every single mark you put down, should separate the process of mark making into planning/preparation first, followed by a confident execution free from hesitation. The second your pen touches the page, any opportunity to avoid a mistake has passed, and all you can do is push through.

Additionally, I noticed in the organic forms with contour curves, that you aren't quite shifting the degree on your contour curves. You did this correctly on your contour ellipses, but here, many of them maintain a consistent degree.

Moving onto your texture analyses, while you ended up making the gradients a lot shorter than they should have been (I believe the instructions recommended orienting the page in landscape so you could stretch the rows across the full length of the page), these are absolutely looking quite well done. You're doing a great job of capturing the focus on cast shadows, and you're avoiding the pitfalls of outlining your textural forms. You've also created a proper transition from dark to light, and have blended that black bar along the left side of the gradient properly.

You're continuing to apply keen observation and an awareness of your marks as shadows throughout the dissections, so they're coming out great.

Moving onto your form intersections, they're a start, but there are a few things that jump out at me:

• In the instructions, I mentioned that you should avoid any forms that are stretched in any one dimension and stick to those that are equilateral, or roughly the same size in all three dimensions. You've got a fair number of longer cylinders in there that introduce more more foreshortening into the mix, making a difficult exercise more challenging and diverting your focus from the concepts you ought to be working on.

• You've got a whole lot of empty space on some of those pages.

You are moving in the right direction, but make sure you read the instructions more carefully and focus in pushing each exercise to its limits.

Lastly, your organic intersections are coming along well. You're doing a good job of capturing how the forms wrap and contort around one another, giving an impression of how they exist in a physical, three dimensional stack, rather than just being pasted on top of one another as 2D shapes. Your linework is still kind of stiff here, so remember to apply the ghosting method to every single mark you put down, and draw from your shoulder.

I'll go ahead and mark this lesson as complete.