Your work here is very well done! There are a few things I want to mention, but all in all you've done a great job.

Starting with your arrows, you're doing a good job of capturing how they flow fluidly through space. One thing to keep in mind however is that as perspective applies to the positive space (the ribbon getting narrower as it moves away from the viewer), it should also be applying as consistently to the negative space - that is, the distances between the zigzagging sections. As we look farther back, those spaces should be getting tighter, at the same rate as the ribbon gets narrower. This will help you capture a more consistent sense of depth.

You do improve on this somewhat on the second page though, but definitely keep it in mind as you continue onwards.

Moving onto your organic forms with contour lines, there are a few concerns:

• You're not entirely consistent in adhering to the characteristics of simple sausages, as discussed in the instructions. You're not far off, but you have a tendency of letting some of them pinch through their midsection (especially when they bend), and the ends of your sausages aren't always entirely circular/spherical, instead getting a little more stretched out.

• Your contour ellipses are a little stiff. They're not too far off, but there is some rigidity to them that comes from being drawn with a little more hesitation, with your priority being placed on having them fit snugly between the edges of the sausage. While this is good, it is critically important that you focus first and foremost on achieving a smooth, confident execution. Using the ghosting method helps with this, as does drawing through your ellipses two full times before lifting your pen, as discussed back in Lesson 1. This should be done for every ellipse you draw throughout all of these lessons.

• You appear to be trying to keep the degree of your ellipses consistent throughout the length of your sausage forms. This isn't correct. 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.

Your contour curves are generally much better. Their degrees are still too consistent, so keep an eye on that, but they're less hesitantly drawn, and the sausage forms tend to be better.

Moving on, your texture analyses are very well done. You've clearly done a great job of focusing on shadow shapes and applying the principles covered in the lessons to transition from dense to sparse textures without changing the specific nature of the texture being depicted. Instead, you're only changing the marks with which it is conveyed. You're also demonstrating a careful, purposeful attention to detail and strong observational skills.

This mstoly holds true through your dissections, though there are some places with some textures that rely on individual, discrete textural forms (the turtle shell, corn cob, coffee beans) where you slip back into outlining eahc form individually, instead of relying on the shadows they cast on each other. Remember that shadow shapes will allow you to transition freely between levels of density, but outlines will lock you in.

Your form intersections have largely been done quite well. Your forms are consistent and cohesive within the same space. You're also thorough in drawing through each and every form, applying the ghosting method to each of your lines, and executing your marks with confidence. You do tend to be a little bit sloppier with your contour lines though. In most cases, when drawing a sphere, instead of drawing a contour curve along its center, try drawing a contour ellipse on one tip of it, as shown here. This can sell the illusion much more effectively. Also, when you do draw contour curves, don't go back over them repeatedly as you've done here. One mark for one line, no more than that. Don't correct mistakes, don't go back over lines thoughtlessly (line weight is a separate matter).

When it comes to the intersections, you've got a good start. This aspect is really just an introduction to the concept of spatial relationships between forms, which we will continue exploring through the entirety of this course. This exercise merely serves to plant a seed, that we will develop by exploring constructional drawing more deeply.

Lastly, your organic intersections are doing a pretty good job of capturing how they interact with one another in 3D space, instead of as flat shapes on a page. You're also doing a good job of establishing an illusion of gravity in how they slump and sag over one another.

I have just one concern - when drawing these forms, treat them more like filled water balloons - that is to say, they shouldn't wiggle and wobble so easily. Right now they're more like partially deflated balloons, more eager to deform to the surfaces beneath them as they should be. Instead, they should sag and slump as a whole, but while still maintaining their overall sense of solidity and volume.

So! All in all, your work here is very well done. I'll go ahead and mark this lesson as complete.