Starting with your arrows,

• Great work keeping the side edges drawn confidently so as to avoid any erratic widening/narrowing that might undermine the solidity of the structure.

• You're doing a good job playing with foreshortening as applied to the positive space of the arrows (the structure itself).

• I am seeing signs that you're taking into consideration how the foreshortening applies to the negative space (the gaps between the zigzagging sections), although this is something that can be pushed even farther. Don't be afraid to let those zigzagging sections go as far as overlapping one another as those gaps compress even further. Students can often feel that this seems "off", but it's actually a very useful tool for conveying a stronger sense of depth in the scene, and the impression that the arrow is coming straight at you.

Continuing onto the organic forms with contour lines,

• Great work sticking to the characteristics of simple sausages - although you're a little less strict in adhering to them on the page with contour curves, so do be attentive to that.

• You're drawing your contour ellipses very confidently, which helps a great deal in maintaining consistent, even shapes that wrap properly around the sausage's surface. Your contour curves aren't badly done, but I am seeing a clear attempt at avoiding "overshooting" your curves (in the manner discussed here), and that is interfering with the trajectory of those curves. Don't worry about avoiding it - allow yourself to overshoot them fully, so you can get accustomed to the sweeping motion your arm requires to draw those curves correctly. Then, once you can do that consistently, you can try to pull back. Doing it all at once tends to generate poorer immediate results, while also making it less effective for improving our results in the long term.

Continuing onto the texture section, one thing to keep in mind is that the concepts we introduce relating to texture rely on skills our students generally don't have right now - because they're the skills this entire course is designed to develop. That is, spatial reasoning. Understanding how the textural forms sit on a given surface, and how they relate to the surfaces around them (which is necessary to design the shadow they would cast) is a matter of understanding 3D spatial relationships. The reason we introduce it here is to provide context and direction for what we'll explore later - similarly to the rotated boxes/organic perspective boxes in Lesson 1 introducing a problem we engage with more thoroughly in the box challenge. Ultimately my concern right now is just how closely you're adhering to the underlying steps and procedure we prescribe (especially those in these reminders).

You've done a fantastic job, by and large, at applying that methodology to most cases. There are individual one-off strokes in your crumpled paper and maple bark textures (I entirely understand why - but adhering to that process forces us to set a lower threshold beyond which really slight marks may simply not be included at all), while also allowing us to craft our textural marks with far more nuance and delicacy. Such shapes allow us to taper things off to nothing more effectively than a stroke, which is usually going to still end at a thick enough end that it feels like it stopped suddenly, which works against us in this case.

That said, you've stuck with that process well into the dissections, which is admittedly uncommon, and fantastic to see. I think you've done a great job overall here, and in so doing you've demonstrated exceptional patience and observational skills throughout.

Moving onto the form intersections, this exercise serves two main purposes:

• Similarly to the textures, it introduces the problem of the intersection lines themselves, which students are not expected to understand how to apply successfully, but rather just make an attempt at - this will continue to be developed from lessons 3-7, and this exercise will return in the homework in lessons 6 and 7 for additional analysis, and advice where it is deemed to be necessary). In this regard, you're doing well, although I would avoid drawing "through" your intersections. While we encourage students to draw through their forms, as this provides us significant benefits in helping to understand how the forms sit in 3D space with only minimal increases in complexity, drawing through our intersections strikes the opposite balance by providing very little benefit while greatly increasing the complexity to a potentially distracting level. So, stick to the way in which they're drawn in the demonstration.

• The other, far more important use of this exercise (at least in the context of this stage in the course) is that it is essentially a combination of everything we've introduced thus far. The principles of linework, the use of the ghosting method, the concepts surrounding ellipses along with their axes/degrees, perspective, foreshortening, convergence, the Y method, and so forth - all of it is present in this exercise. Where we've already confirmed your general grasp of these concepts in isolation in previous exercises, it is in presenting it all together that can really challenge a student's patience and discipline, and so it allows us to catch any issues that might interfere with their ability to continue forward as meaningfully as we intend.

As far as this latter point is concerned, you've done a fantastic job. You're very patient and mindful in the use of the ghosting method, the Y method, and so forth - and frankly the level to which you've filled these pages often makes that even more difficult to achieve, as it can be rather overwhelming. You handled it very well however, and I'm not seeing that attention and focus slipping anywhere.

Lastly, your organic intersections are coming along great - they're similarly demonstrating a strong understanding of how these forms interact with one another as they slump and sag under the influence of gravity, and your cast shadows are consistently used to further that impression.

All in all, fantastic work. I'll go ahead and mark this lesson as complete.