CritiquesForReference2

This is not an actual critique for this work and should be used purely for reference only

Source: https://imgur.com/a/0o7lPL7

Starting with your arrows, you've got them flowing quite nicely and confidently through space. One thing to keep an eye on however is to always make sure that the gaps between your zigzagging sections get smaller as they move back in space, and to have them do so in a consistent manner.

An amount of the confident fluidity of your arrows definitely carries over into your leaves, though I do think that at the same time you are stiffening up a little in the face of actually drawing more concrete objects instead of something more abstract. When drawing the flow lines of your leaves, it's important to think not only of how it's going to sit statically in 3D space, but how it is actually moving through that space. This flow line represents the forces that drive the leaf - wind, air currents, etc. - and pushing through this line with a sense of energy will help imbue your leaf with life. One thing that can help with this is to add a little arrowhead at the tip of your flow line.

Other than that, you've done an excellent job of adhering to the underlying structure of your leaf construction when adding additional detail. You're showing considerable respect here for the bounds set out by previous phases of construction, and are respecting the answers you've given to certain questions/problems without seeking to provide new contradictory answers later on in the process.

Finally, moving onto your branches, you're doing an excellent job here. You're mindful of extending the segments fully halfway towards the next ellipse, and you're doing a great job of keeping the widths of your branches consistent throughout their length with no sudden pinching or swelling. There are a couple visible 'tails' where the segments don't quite flow into one another - one thing that helps with this is to make a point of using a the last bit of the previous segment as a runway for the next segment to overlap directly before shooting off towards its next target. This may hurt the results of that branch itself, but by forcing yourself to roll with the consequences of every mark, it'll encourage you to improve them more quickly.

Honestly, looking at your actual plant constructions, I'm afraid I don't have too much else to offer. Your work here is fantastic, and you're taking the points I made about your respect for the constructional process in regards to your leaves to an even further level. The result are constructions that feel solid and tangible, that carry an impression of weight and solidity. You're also demonstrating a measured, light touch when it comes to implying certain aspects of detail - for example, the long lines that run along the length of flower petals - the way you've drawn them does not create visual noise, but instead they flow smoothly and fluidly, ever in line with the surface without contradicting it at any point.

You build up your constructions with a great deal of patience, never overextending yourself to add an complexity that cannot be supported by the existing structure. You're also leveraging line weight and cast shadows effectively to help organize your drawings and bring emphasis where you need it to be, while letting the less important elements drift to the back.

You've done a fantastic job, and should be proud of yourself. I will happily mark this lesson as complete, and I am excited to see how your work for the next few lessons will turn out.

Edit: I just went back and read your comments (I usually ignore them unless they contain questions, as I prefer them not to taint my own point of view), and I suppose the main thing you need to work on is your tendency for self-criticism. While it is absolutely valuable to see your flaws and mistakes, it's also critically important to leave room for acknowledging your strengths and successes.

A lot of students tend to fall into this trap of feeling nothing but dissatisfaction with their own work, and to a point, that is one of the things that make external critique valuable. Reason being, what you look for in your drawing may be entirely different from what is expected of you within the limits of a given lesson. You may be delivering exactly what I'm asking for and demonstrating a keen grasp of the material in the lesson, while not ticking your own boxes.

When I say your work here is very well done, I mean it. I'm not above breaking down students' mistakes when they clearly disregard the principles covered in my lessons. I am also not against giving credit where it is due. You've done a great job, but it may take a little more experience to open your eyes to exactly why that is.

This is not an actual critique for this work and should be used purely for reference only

Source: https://imgur.com/gallery/kXNtIXn

You definitely start off this batch a lot weaker than you finish, in that with some of the early leaf drawings you're not at all following the instructions. This does show that you're improving, and that you are learning, but that you might have a predisposition to barreling ahead rather than thinking about what exactly is being asked of you ahead of time.

Starting with your arrows, just a minor point - keep exaggerating how the spacing between the zigzagging sections compress in space as we look farther back. While the amount of zigzagging here doesn't necessarily allow me to judge whether or not you understand how perspective applies to it, there are signs that you're generally hesitant to let that space get tighter, or ever allow those zigzagging sections to overlap one another. In the upper right there, it actually widens as it gets farther away, which is not in line with reality. When drawing these, focus on how perspective applies to both positive and negative space.

The leaf on the top of this page, as well as the maple leaf there, categorically go against the exercise. The leaf on the far left-middle of the page is closer in that you're actually following the steps of construction, though your additional edge detail there treats the simpler shape of the leaf laid down in the previous stage as a loose suggestion, instead of as solid scaffolding. Observe carefully how in this demonstration the one with the checkmark touches that earlier shape directly, coming off of it and then returning to it. It respects this as a structure onto which it is being built, not a sketch on a page meant to be ignored or adjusted as needed.

Your branches exercise is moving in the right direction, although I can see that you're definitely rushing through it. The marks don't show a whole lot of preparation preceding the actual execution of the mark, but even moreso the hatching you've placed along the ends is visibly sloppy. This is present in a lot of your constructional drawings, where you're putting the lines down quickly and somewhat thoughtlessly, and treating it more like a loose sketch.

This drawing however, is visibly better. Are there issues? Yes - for example, you're not drawing through each form in its entirety, instead allowing the lines to stop where a given form is overlapped by another (drawing through forms is important to better understand how they exist in relation to one another). You're also still drawing lines reflexively - I can see several places where you've drawn an additional mark automatically, instead of purposefully executing just a single mark. And there certainly is rushing, but when we compare it to what you did for this same plant in your last attempt, you're demonstrating a LOT more patience and care.

At the end of the day though, while you're showing some moves forward, you're still looking at drawing as though it's just sketching. Like you should be able to produce good work by instinct and intuition, rather than through explicit planning and thought. If you compare what I do in the daisy demo to what you're doing, the processes - not just the quality of the resulting lines - are fundamentally different. It's assumed that you'll have difficulty drawing your lines with as much precision, but it seems to me that because you don't feel confident in your ability to draw in this manner, you try and change the process itself to something you may be more comfortable with. You're replacing the problem, instead of allowing yourself to do it badly.

Instead of having you redo the entire lesson again, I'm going to ask for the following:

4 pages of leaves. I don't want to see sketchy, haphazard construction. Look at the specificity with which I approach every single mark I put down even in more complex, potentially overwhelming ones. I don't get lost in the totality of what I'm drawing. A line is just a line, and so I treat it as such.

4 pages of plant drawings. Take your time. It doesn't look like these drawings took you more than 10 minutes each.

2nd source: https://imgur.com/a/ML20Qhj

Here are some notes about your leaves. On there, I also pointed out that you're zigzagging your lines around the underlying structure when adding wavier edges, which is something I specifically address here.

A key problem with your leaves is that you're leaving a lot of gaps, not actually allowing them to be fully enclosed forms, and instead reminding the viewer that they are merely a collection of lines. Notice the difference between how I draw in my little demonstrations on top of your page - my leaves are fully closed, and my lines are drawn to be specific. Yours still appear more to be somewhat instinctual, as though you are sketching and trying to rely on your gut. Don't forget about the use of the ghosting method for every single mark you put down - if we look at leaves like those on this page, it'd be hard to argue that the ghosting method was used for any of the outlines of the leaves.

For this drawing, when drawing the fern, you zigzag your lines back and forth throughout in many cases, which breaks this principle of markmaking. You need to be drawing each segment individually, so you can actually design how they move through space. By zigzagging, you end up focusing again on how the lines exist in the two dimensions of the page, not how they move through 3D space.

Overall, the problems are at their core the same as before. You're not following the instructions as they're written, and you're allowing yourself to be loose and approximate, instead of building directly upon the marks you put down. This comparison of two leaves in one of your plant drawings captures the issue fairly succinctly. There's no reason that the leaf circled on the left was approached differently than the leaf circled on the right.

Now it is entirely normal to get nervous when putting a mark down, especially in ink - but that is part of the exercise, to still your mind and step back when you feel frazzled. I think instead of having you immediately do more plant drawings, we're going to take a bit of a step back to some earlier exercises.

I'd like to see the following:

4 pages of ellipses in planes. Do not rush these. Invest as much time as you need into every single mark you put down. Apply the ghosting method, draw from your shoulder, and so on.

2 pages of organic arrows.

2 pages of freely rotated boxes (like the box challenge, including line extensions)

Since you ought to have been doing plenty of these past exercises in your warmups (as explained back in lesson 0), this should not be anything new. Regardless, make sure you read the instructions for each of these exercises before doing the assigned pages so they're fresh in your memory.

Once you've done that, do the following:

1 page of leaves

Just 1 plant drawing. Show me that you can apply the concepts covered in the earlier lessons, that you can build directly on top of your various phases of construction and respect the fact that everything you draw is being created in three dimensions, not just as lines on a page. And pick something simple. There's no need to draw something complex and challenging.

3rd source: https://imgur.com/a/rLdTXh4

Alright, I think you're getting there. I am going to mark this lesson as complete, but there are definitely still things to continue working on:

• You've still got some gaps between phases of construction, as shown here. Continue working to keep everything tightly bound.

• As shown here, always construct a simpler structure first, then build up complexity. Even if the form you're after is just a little complex, always construct it in this step by step manner.

You're demonstrating more control now, but there's still a ways to go - constructional drawing as used in drawabox is all about the relationships between our phases of construction building directly on top of one another, and you're still working towards that. Gaps and holes remind the viewer that they're looking at a 2D drawing, so they need to be avoided, instead giving the impression that everything is solid and three dimensional.

This is not an actual critique for this work and should be used purely for reference only

Source: https://imgur.com/a/3giNBYj

Starting with arrows, nice work getting them to flow confidently and fluidly through space, though in some cases I'm noticing that you're applying perspective to the positive space (the width of the ribbons) but not to the negative space (the space between the zigzagging sections). Letting that spacing compress as it gets farther away is important, as is allowing those sections to overlap where appropriate. Both are effective ways to further demonstrate the depth in the scene.

Moving onto your leaves, these are generally pretty well done, especially in terms of your use of the constructional techniques covered in the lesson. You're mindful of how the additional edge detail builds directly on top of the simpler structure laid out in the previous phase. One thing I am noticing however is that your leaves here are definitely much more rigid and stiff than your arrows in the previous page were. While they have some flexibility to them, the arrows gave the impression of how they actually moved through the space they occupied, whereas the leaves feel somewhat more like they're sitting frozen in space. One thing that can help with this is to add a little arrow head at the tip of your initial flow line, as this can help to remind you that you're capturing just how this form moves through space, not just capturing lines on a flat page.

Your branches are off to a good start, but there's definitely a good deal of rigidity here. Remember that the key focus to this exercise is to achieve the impression that the segments flow fluidly together, as though they're just a single continuous edge. On the first half of your page, there's definitely a visible hitch at each ellipse, making the sections seem more staggered rather than continuous. The second half is definitely improved, and moving in the right direction, but there's still room for improvement. Make sure you're extending those segments a full halfway to the next ellipse (there are many cases where you're letting them stop way too soon), and use the last bit of the previous segment as a runway for your next one, overlapping it directly before shooting off towards your next target.

Overall I think your plant constructions are coming along quite nicely overall. There are a few issues I'll point out, but the overall trend is that you're showing a good grasp of the material. Here are my observations:

• You've got a lot of excellent fluidity on the leaves in this page, but watch out for those open-ended leaves you've drawn. Cap off every form, even if it's getting cut off. Leaving things open will undermine the impression that the construction as a whole is three dimensional.

• On this page, I feel you got somewhat overwhelmed by all of the things there are to pay attention to, and in doing so you ended up getting a little erratic and haphazard with a lot of the marks you were putting down. Complicated problems are all the more reason to take a step back, take a breath, and try and break the whole thing down into smaller problems that can be dealt with one after the other. Just because a drawing involves putting down a lot of lines does not mean that the individual marks should be receiving less attention and patience. We still ought ot be using the ghosting method for every single mark we draw.

• A key mistake with these mushrooms is how their bases actually connect to the branch off which they're growing. Remember how the degree of an ellipse conveys the orientation of the circle it represents in space. If we're looking straight on at the circle, then the ellipse will have a very wide degree. If we're looking at it side-long, it'll be a much narrower degree. Given that the base of one of the mushrooms was towards the middle of the branch-cylinder, this would have been facing us somewhat more head-on, so the ellipse defining the connection between the forms ought to have been much wider.

• Also worth mentioning for that drawing, you definitely got caught up in drawing the full outlines of each little textural form along the mushroom's surface. Remember that when drawing texture, we don't use outlines at all - we focus only on cast shadows. I can see you tried to do more of this along the branch, but it doesn't seem like you took it very far.

• I felt this hibiscus was very well done. The structured approach to the petals and the confident, measured way you got even into some of the detail (with the cast shadows and such) came out quite nicely.

All in all you do have things to work on, but are definitely moving in the right direction and are showing a good understanding of core concepts. As such, I'll go ahead and mark this lesson as complete.

This is not an actual critique for this lesson and should be used purely for reference only

Source: https://imgur.com/a/3C7eRiJ

It certainly is a difficult challenge that tests one's patience, endurance, and their ability to pace themselves. I find that along drilling the development of one's spatial reasoning skills, and their ability to think in three dimensions while drawing on two dimensional paper, it also helps to serve as a filter for those who are ready for the kind of work that follows.

All things considered, you've done a great job overall. The key thing I look for - and which I feel you demonstrate a great deal - is that students end up learning to think more in terms of the convergences of their sets of parallel lines. When drawing a line, we always do so in relation to others, so it's easy to think in relation to the lines with which our mark shares a corner, or those with which it shares a plane - but the key is that we really only need think of the lines with which the mark shares a vanishing point, and to focus entirely on keeping those convergences as consistent as possible.

Now, while you're still not 100% there (and you're not expected to perfect it), you're showing quite clearly that you are largely thinking about how those lines converge, and as you progress through the challenge you've shifted more and more to thinking in this way.

There are of course outliers - like 248's red lines where that far back edge ended up flying way off, but there's a way to avoid this kind of problem. As explained here, we can think about the angles at which our 4 lines leave a given vanishing point. The middle ones will often have a fairly small angle between them, and by the time they reach the box itself, this angle can become so insignificant that the edges can run roughly parallel to one another - or fairly close to it. Considering these relationships can help us avoid situations where we end up with such sharp turns that result in the convergence of two lines coming far earlier than the others in the set.

Anyway! All in all, you're doing a great job and have shown a lot of growth over the course of this set. I'll happily go ahead and mark this challenge as complete. Keep up the good work.

Lots of advice to learn from :https://drawabox.com/community/submission/7ZH9YLF

Credit to Uncomfortable himself.

This is not an actual critique for this lesson and should be used purely for reference only'

Source: https://ibb.co/album/nakZYv

Starting with your lines, your work here is really solid. You're executing your marks with clear confidence, not hesitating at all, resulting in lines that maintain a very consistent trajectory throughout their length. You then go on to reinforce this with the ghosting method to imbue them with additional control without sacrificing that excellent flow. Very nicely done.

Your ellipses aren't quite as strong - they're still reasonably well done, but there's a visible tendency to slow down and hesitate as you draw them, which suggests to me that you're generally ever so slightly more preoccupied with nailing your accuracy - that is, getting them to fit snugly within their allotted space. Remember that the principles of the ghosting method (and the use of it) applies with all the marks we draw, ellipses included. It means we invest our time into the planning and preparation phases, which is where we establish the nature of the mark we want to make, then execute with a confident pace in order to keep the trajectory consistent. The result, in the case of ellipses, is that we achieve a smooth, evenly shaped ellipse with no wobbling or rigidity to it. Once we're able to achieve that, we can adjust our first two steps to improve the accuracy, but ultimately that confident execution is paramount.

I do think that you improve upon this throughout this section though - once you hit the funnels, you're doing visibly better at keeping them evenly shaped.

Skipping down to your rough perspective, you're generally doing pretty well but I think what's missing is that you need to take an extra moment at the beginning of each individual mark to determine the specific behaviour you're looking to achieve with a given mark. That is, each line in this exercise falls into one of three possible categories, each with its own specific behaviour. Horizontal lines run parallel to the horizon, vertical lines run perpendicular to the horizon, and lines that recede into the distance converge towards the vanishing point. This last one is the obvious focus of this exercise, but it's easy to slip up a little with the first two categories, resulting in lines that slant slightly and undermine the solidity of the boxes themselves. I explain this further in these notes.

You definitely took a good swing at the rotated boxes, though I think a similar issue gave you trouble here. Towards the center and the main axes, you did a good job of both keeping the gaps between your boxes narrow and consistent (so as to eliminate any unnecessary guesswork), and you also did a pretty good job of covering the full range of rotation along each axis. as you drift towards the corners however, the gaps become less consistent (resulting in more guesswork), and as a whole I think you struggle to keep your lines entirely parallel/perpendicular to the main axis lines, resulting in slanting that throws off the set as a whole.

Now, of course this exercise is intended to be extremely difficult at this stage, and merely exists to introduce students to the challenges involved in starting to more freely rotate their boxes in space. This is the same with the organic perspective exercise which takes this concept even further. You've similarly had a good start with these, though there's plenty of room to improve your ability to get your sets of parallel lines to converge more consistently towards their shared vanishing points.

Jumping back to the rotated boxes though, I did want to point out that you neglected to draw the boxes at the far diagonal corners. Remember that regardless of whether or not an exercise turns well, your responsibility is merely to complete it to the best of your ability. In this case, you made a conscious decision to fall short of that. That is the only real mistake you made, because it was entirely within your control. Remember that as you move forwards - your responsibility is not to do the exercises well, or to impress anyone. It is merely to do them, and to put forward your best effort.

So! All in all, you are doing pretty well, and based on what I'm seeing, I believe you'll have ample opportunity to improve as you move forwards. So, I'll go ahead and mark this lesson as complete.

This is not an actual critique for this lesson and should be used purely for reference only

Source; https://imgur.com/a/ETWbvqQ

Starting with your arrows, I'm largely very pleased with these, aside from one minor point. You've drawn them with a great deal of confidence and enthusiasm, resulting in each arrow flowing really quite nicely through all three dimensions of space. My only issue is that with that enthusiasm comes a degree of sloppiness. To a lesser, and more understandable degree, there are the places where one segment stops and another ends having little gaps or tails. This is frankly quite normal and expected at this stage, and it's something we'll learn to tackle a little better in lesson 3. But the bigger concern is the shading as the ribbon twists and turns - you've drawn this quite sloppily, not taking the time to keep it contained within the surface of the arrow. There's no reason that these need to be drawn so hastily, and so it was largely a matter of not quite taking the time that was required to do it more cleanly. Again, it's not a huge complaint, but in principle always devote as much time as is required to complete a task. I am very happy with the general flow and energy behind the arrows themselves, though.

Moving onto your organic forms with contour lines, I can see that this enthusiasm and energy is a bit of a trend - and that it has both its strengths and its weaknesses. You are indeed drawing your lines with a good deal of confidence here - it's helping maintain a nice, even shape to each of your ellipses. It is also running into some problems, however:

• In the instructions, I explain that each sausage form should be drawn as closely to these characteristics of a "simple sausage". This is critically important as we move further through the lessons, as sausage forms will be the foundation for later constructions, and ensuring that they are maintaining these characteristics will help make them appear more solid and three dimensional. Your sausages seem to ignore this particular instruction altogether - you've got plenty of ones with ends of different sizes, pinching through their midsections, non-spherical ends, etc.

• You have some demonstrating that you definitely understand how the degree of your ellipses ought to change naturally over the course of a given form, getting either wider or narrower to demonstrate how the orientation of that particular cross-section relative to the viewer changes (as shown here), but it is something you overlook in most of these, where you tend to keep the degree very consistent throughout. When the degree stays the same, it tends to make the forms feel very stiff, and while the viewer may not know what is wrong, their subconscious will know something is off.

• You're definitely struggling to get your contour lines to fit snugly within the silhouette of the sausage forms. This in turn breaks the illusion that they're lines running along the surface of the forms. Make sure you apply the ghosting method to every single mark you draw - applied correctly, it'll allow you to maintain the confidence of your execution while reinforcing it with proper planning and preparation to improve your control. Also, remember that I always talk about a "confident" execution - this doesn't mean drawing as fast as you can. Instead, it means drawing in such a way that your brain is not able to interfere and steer as you execute the stroke. While this may be easier to do at a faster speed, especially when you're starting out, with practice the required speed will decrease, and you'll be able to maintain a smooth, hesitation-free stroke at slower speeds. You may want to experiment with this.

To put it simply, I definitely think you've rushed through this exercise, and in doing so you missed important instructions, and I feel that you didn't necessarily execute the exercise to the best of your current capacity. Given more time into planning and preparation before each and every stroke, I think you can probably do much better.

Moving onto your texture analyses, these are actually very well done, and I think you're demonstrating an excellent understanding of both the instructions for this exercise, and the material on texture as a whole. You've focused squarely on the importance of relying on shadow shapes rather than lines, and do an excellent job of controlling the density of your details as you transition from left to right. This is applied quite well to your dissections as well. You continue to think about shadow shapes and texture density while also wrapping the textures around these rounded forms. Nice work.

I believe as you move into your form intersections and your organic intersections, you demonstrate a lot more patience and care, and I think it really pays off a great deal. Throughout your form intersections, you're doing a great job of drawing these forms together such that they feel cohesive and consistent within the same space. You're also making an excellent start on exploring how the forms relate to one another through their intersections - this is a concept we're just introducing here, getting students to start thinking about them, as it's a concept we continue to explore throughout the entirety of this course. That said, you're doing a great job with it already, and are at something of an advantage as you move forwards.

Lastly, your organic intersections demonstrate these forms together such that they slump and sag and interact in a way that reinforces the illusion that they're three dimensional, and not just flat shapes pasted together on a page. These are also demonstrating far greater patience and control than in the previous exercise.

All in all, especially once you hit the texture analyses, you're doing a pretty great job. I am however going to need you to demonstrate that you're able to pin down those organic forms with contour lines. I would have asked for a ton of extra pages just to force you to be patient and to take your time, but since you showed me the fact that you were able to through the rest of the lesson, we can settle at just one page of contour ellipses and one page of contour curves. Were organic forms not such an important element moving forward, I would have just shrugged it off and let you move on, but they really are critical so it's better we make sure you're doing them properly before we continue.

This is not an actual critique for this lesson and should be used purely for reference only

Source; https://imgur.com/a/BP8NUBf

Alrighty. So, starting with your arrows, these are flowing quite nicely through space and across the page. One thing to keep in mind though is that as we look farther back, the spacing between the zigzagging sections will compress. This means that if you have a smaller gap, then behind it a larger gap, that's going to throw the viewer off (like in the top right corner of the first page). Always get that gap to get narrower, and don't be afraid to let the sections overlap.

Moving onto your organic forms with contour lines, you're definitely making an effort to stick to simpler sausage forms (as mentionde in the instructions). There is some deviation from this here and there, with some having ends of different sizes, but all in all you're doing pretty well on this front. One area that is somewhat inconsistent is where the degree of your ellipses/curves should shift in a fairly consistent manner as we slide along a given form, as shown here. Right now most of yours remain the same width, or have arbitrary changes that jump around a little bit. Definitely something to keep in mind as you continue to move forwards.

You've got a good start on your texture analyses, though it's very clear that you're still very much focusing on lines as your starting point. You generally still think in terms of enclosing each textural form in a line of its own - establishing each one explicitly. Then you go on to push some shadow shapes, or fill in gaps between your forms, but this leaves you with a difficult situation when it comes to actually transitioning from a very dense texture to a much sparser texture on the opposite end.

The key to this is to not draw in line at all for these textures. Instead, you work entirely in shadow shapes - thinking in terms of the shadows that a given form will cast on its surroundings, and only drawing those shadows, not the outline of the form itself. By doing this, we imply the presence of the textural form without ever actually drawing it directly, as explained in this section. To this point, your shadow shapes are each directly related to the form that casts them. You're not simply filling the gaps between forms in, but rather thinking about how a given form will block the light source from reaching a certain area on the surfaces surrounding it.

Now, this obviously takes a good deal of practice to get your head around, and you've got a good start on it. This exercise is really just meant to be an introduction to the concept. You're also continuing to show progress through your dissections. I do however strongly recommend that after a week or so, you revisit the Lesson 2 texture notes just to go through them again after having given your time a little time to process what you understood the first time around. Downtime can often help to give us a little distance and perspective before revisiting the same material.

Moving onto your form intersections, you're doing a solid job on drawing these forms such that they feel consistent and cohesive within the same space. You did miss one thing however - in the instructions, I stated that you should avoid any forms that aren't roughly equilateral - that is, the same size in all three dimensions. This includes longer cylinders, since they bring a lot of additional foreshortening to complicate an already difficult problem.

For the intersections themselves, this exercise is intended to just be an introduction to the concept, a starting point as you work to develop your understanding of spatial relationships. Spatial reasoning is at the core of the course as a whole, and is something we will continue to develop throughout lessons 3-7. That said, while some of your intersections are a little hit or miss, you are showing a great start with them, and are exploring them quite well.

Lastly, for your organic intersections, I think you're somewhat falling into the trap of thinking about those sausage forms more as 2D shapes as you draw them on the page, then thinking about them as 3D forms more in isolation afterwards, as you add contour lines and cast shadows. As a result, we don't get any sense of how they actually slump and sag against one another. The forms end up feeling three dimensional on their own, but don't actually give a good impression of how they interact with one another.

Now, all in all I am pleased with your work, but I think it is your organic intersections that will require your greatest focus as you continue to move forwards. I am going to mark this lesson as complete, but I would like you to review the instructions for this exercise, and when picking exercises for your daily warmups, definitely give them a little more of your time.

Feel free to move onto lesson 3, but as I mentioned, give the organic intersections a little more attention when picking exercises for your daily warmups.