Starting with your arrows, you've drawn them in a way that really confidently conveys their movement through space with a great deal of fluidity. There are a few places though where your linework stiffens up a little bit (like the top left of the second page, among other locations) - remember that drawing from your shoulder and using the ghosting method is incredibly important to maintain that smooth, consistent execution for your linework, and it's key to avoiding the tendency to let your lines wobble. For the most part you're doing a good job, there are just a few areas where that becomes a greater concern.

Moving onto the organic forms with contour lines, I think that hesitation definitely shows up in how you're drawing the sausage forms themselves. Your intent comes through properly however - you're attempting to draw forms that clearly adhere to the characteristics of simple sausages as outlined in the instructions. You just need to make sure that you execute the marks with less hesitation. Something that may help is to give you a deeper understanding of how the ghosting method itself works - how its primary benefit is in allowing students to execute their marks without hesitating or being afraid of making a mistake. I explain this in much greater detail in this response to another student. I recommend you give it a read, as it may help give a little more context to how you should be thinking about that technique.

Looking at your contour lines, the ellipses vary somewhat in their execution. While there are a bunch that are drawn quite well, coming out evenly shaped and fitting snugly between the edges of the sausage form, you struggle a lot with some of them. This inconsistency suggests a couple things to me:

• You're not drawing from your shoulder, at least for the ones that aren't turning out too great. Drawing from your shoulder allows for a greater fluidity of movement, which helps avoid the situations where the trajectory of your mark shifts suddenly. So if we look at the top-left of the page of contour ellipses, you're struggling there to follow the same path as you draw through the ellipses. This is more common when one draws from the wrist or elbow.

• You may not be rotating your page to find a comfortable angle of approach, which is part of the 'planning' phase of the ghosting method.

Similar issues do exist with the contour curves as well, although you manage to keep them a little more in control. Overall, I am pleased to see that you're demonstrating a clear understanding of how the degree of your contour lines needs to shift narrower or wider as you slide along its length. Overall the key here is to get a better use of the ghosting method and of drawing from your shoulder to execute your marks smoothly and consistently, while still maintaining proper control and accuracy.

Continuing onto your texture analyses, your work here is basically about as good as it gets. You've clearly focused a great deal on pinning down a series of specific, carefully crafted shadow shapes, and you've used them to control the density of your textures as you transition from left to right. You've also focused on how those shadow shapes are the direct result of the textural forms that cast them, rather than drawing arbitrary patterns. Your work here is excellent.

This continues on through the dissections, where you've done a great job of applying the same principles to a wide variety of textures. The only piece of criticism I have to offer here is with the curly hair - just because hair is curly doesn't inherently mean that it's going to be chaotic and random. And honestly, even if it is chaotic, you're going to find very few instances where actually capturing something as being so hectic and noisy in a drawing is a good idea. Instead, it's important to find (and to a point, subtly impose) rhythm and flow in cases like this - identify which strands of hairs come together to form clumps (which themselves become textural forms), and reinforce that sense of flow as though you were capturing swirling streams of water.

Moving onto the form intersections, I think you've done an solid job here - not just in drawing the forms such that they feel cohesive and consistent within the same space, but also in demonstrating that you are indeed entirely capable of applying the ghosting method, at least in your straight lines, and it only reinforces the notion to me that you may have only been applying it for those straight lines, rather than every single mark you draw. But I'll stop beating that dead horse. You've also gotten off to a good start for exploring the intersections themselves - I noticed a number of places where you certainly could have experimented more with how the forms themselves relate to one another in 3D space, but I'd say you did do enough to satisfy the purpose of the exercise. In this regard, the exercise is all about introducing students to the idea of just thinking about how these forms connect, and how those relationships can be defined on the page. It's not about getting them right, not by a long shot - it's fully expected that without prior experience students are going to bungle their intersections all over the place. By making the attempts, however, students plant a seed in their minds that will develop as we continue exploring these concepts throughout the entirety of this course.

Lastly, your organic intersections are coming along well, in that you're drawing the forms such that they clearly define how the forms interact with one another in 3D space, rather than as a stack of flat shapes, and you've introduced a good sense of gravity in how they slump and sag over one another. Aside from the somewhat more hesitant linework however, there is one major issue that you need to keep in mind: in this exercise, and really throughout this entire course, drawing every form in its entirety (regardless of whether another form overlaps it) is critical. Drawing each form to completion allows us to understand how they each sit in 3D space, and how they relate to one another within that space. Allowing them to get cut off where they're overlapped by another form merely reinforces our own understanding of these forms as flat shapes. Be sure to keep that in mind - I know you did draw a bunch of them in their entirety, but when reading the top of the stacks you tended to avoid those kinds of overlaps.

So! Overall you're definitely showing a good grasp of the instructions of each exercise, but you absolutely need to work on your execution of non-straight lines. Getting used to using the ghosting method for all these different kinds of marks, as well as executing them from your shoulder, will be quite valuable in improving your results.

I'll go ahead and mark this lesson as complete, and leave you to continue practicing that on your own (as part of your warmups), and in the next lesson.