No worries, accidents happen.

You're making progress towards understanding the concepts introduced in this lesson and hopefully this critique will help you in your future attempts.

• Starting off in the arrows section your lines are looking smoothly and confidently drawn. You're doing a good job maintaining a consistent width as your arrows widen while moving closer to the viewer and with more mileage you'll become more consistent. This is a good exercise to experiment with line weight but when applying it we want to make sure we do subtly to key areas like overlaps to give clarity to our forms. Here are some things to look out for when applying line weight, and here are some reminders on how to apply it subtly. I'd like you to experiment more with foreshortening (and in general) in your future attempts, by utilizing it in both the arrows themselves as well as the negative space between their curves we can create a stronger illusion of an object moving through 3D space as demonstrated here. The largest issue in this section is that you just draw the same arrows repeatedly, this can cause you to turn your brain off and just auto-pilot through your work. Remember that experimentation is important so try to vary your attempts.

• Moving into the organic forms with contours exercise some your forms are getting a bit too complex. We want to create our forms with both ends being the same size and to avoid any pinching, bloating, or stretching along the form's length as discussed here. You're keeping your line work confident here which is great, if you feel uncomfortable working with contours still don't stress with more mileage it'll become more natural. Speaking of contours I'd like you to try and shift the degree of your contours more. 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. Don't forget to draw through all of your ellipses as well, you neglect some of the smaller contour ones here.

• In the texture exercises you're focusing largely on outlines and negative space rather than cast shadows created by forms along the texture itself. This makes it difficult to create gradients with implied information which we could then use to create focal points in more complex pieces, by doing so we can prevent our viewers from being visually overwhelmed with too much detail. For more on the importance of focusing on cast shadows read here. I'd also like to quickly direct you to this image which shows that when we're working with thin line like textures if we outline and fill the shadow we will create a much more dynamic texture than simply drawing lines. Much like the arrows section, you don't experiment or make many attempts in your dissections which means you aren't getting as much out of this section as you could have.

• It's quite common for people to feel like they don't fully grasp the form intersections exercise, if you feel like you may fall into this category try not to stress too much. This exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming lessons.Your forms are looking quite solid here and they believably appear to belong in the same cohesive 3D space, good work.

• While wrapping up your submission with the organic intersections exercise you do a great job demonstrating that your sense of 3D space is developing as your forms begin to wrap around each other believably. You're keeping your forms simple and easy to work with which is a good strategy to help produce good results. When it comes to your shadows you're pushing them enough so that they cast rather than just hugging the form that creates them which is a great start. Your shadows appear to be following a consistent light source, be sure to experiment with different angles and intensities when trying this exercise again in the future. I recommend pushing your light source to the top left or right corner of the page to start with, it's easier than working with a light directly above your form pile.

Overall this was a solid submission when you experimented and put in your best effort, the arrows and dissections you put in much less effort which makes it hard for us to actually give you any relevant advice if issues develop. Keep in mind like most learning situations the more effort you put into the lessons the more you'll get out of them both from the mileage you build as well as helpful advice from others. I'll be marking your submission as complete and move you on to the next lesson.

Keep practicing previous exercises as warm ups and good luck in lesson 3.