Jumping right in with your arrows,

• While it does vary, your linework is a little bit on the hesitant side. It's certainly understandable, given that controlling a stroke that long and with a complex movement can be tricky, but ultimately it's always the choice to give accuracy that little extra boost, at the sacrifice of the confidence of the motion, that causes wobbling. So remember that even though you're obviously gonna be concerned about the accuracy of the mark being off, you have to make the conscious decision to prioritize confidence. This will help to avoid the erratic widening/narrowing that can ultimately undermine the illusion that the structure is moving through 3D space, rather than just as marks across a flat page. You are absolutely capable of this (as shown in this longer arrow, which is quite smooth and confident), so just be sure to apply it more consistently.

• In terms of the application of foreshortening toi the positive space of your arrows - that is, the actual structure itself - you've handled this well, being sure to have it get larger the closer to the viewer it comes, and smaller the further back we go.

• As to how the foreshortening is applied to the negative space - the gaps between the zigzagging sections - I am seeing it being applied a little, but it faries and there are definitely a lot of cases where the compression of the gaps the further back we look can be emphasized. Don't be afraid to even allow the sections to overlap one another, as that is the logical conclusion of the space being compressed as far as it can go. Additionally, try to stick to arrows that follow a repeating pattern as they move through the depth of the scene - having less consistent paths isn't a mistake, it's just that this makes it easier to ensure that you're also thinking about how foreshortening is applied to the negative space.

Continuing onto your organic forms with contour lines,

• Nice job sticking to the characteristics of simple sausages. While there are some small discrepancies (it's entirely normal at this stage to have ends that are at times a bit more stretched out, or a bit of widening through the midsection), this will continue to improve with experience as long as you continue to aim to adhere to those specifications, which you clearly are striving for here.

• Your contour ellipses and curves are generally drawn pretty smoothly and confidently, while also fitting snugly within the silhouette of the form, which helps to maintain the illusion that they're wrapping around the rounded surface.

• In terms of the degree of your contour lines - both ellipses and curves - you may want to review the Lesson 1 ellipses section - generally a good rule of thumb is to have the contour lines get wider the further back along the length of the form they go, although as the sausage turns that can also impact the degree at any given cross-section. The ellipses section in Lesson 1 goes over the mechanics that drive this in more detail.

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 pretty good job of adhering to this methodology a great deal, although you do generally slip back into making one-off strokes to capture textural marks once they start to get particularly thin or small. While it's true that there are certainly going to be shadows that are cast that are so small they can't reasonably be executed using our two step methodology, in such cases it's better to actually leave them out, for the following reasons:

• A designed shape, despite not being something we can create quite as small as a one-off stroke, tapers in a more nuanced, delicate fashion, whereas a one-off stroke is more likely to end in a manner that feels more sudden. Thus, the shapes lean better into our goal of creating a gradient that transitions from black to white (and ultimately we have to pick a point for the shadows to drop off altogether anyway, so pushing a little farther with singular strokes isn't strictly necessary).

• Drawing in one-off strokes allows us to lean more into drawing directly from observation (as opposed to observing, understanding the forms that we see as they exist in 3D space, then creating shadows based on that understanding), which can be very tempting as it can allow us to create more visually pleasing things without all of the extra baggage of thinking in 3D. But of course, 3D spatial reasoning is the purpose of this course.

That is pretty normal to see at this stage however, so just be sure to keep it in mind going forward. More broadly however, you are demonstrating well developing observational skills here, so keep that up. Do however remember that textures should never involve arbitrary scribbling as you used here (and next time you attempt the opossums, try to focus more on the shadows they cast on their surroundings :P).

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). As it stands you're exploring the relationships between these forms as I'd hope to see, so no concerns there.

• 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 to this latter point, fantastic work - you've been patient and mindful with each mark, and have leveraged the tools we've armed you with at every turn, so that's great to see.

And lastly, as to the organic intersections, your work here is coming along well - you're thinking through the way these forms slump and sag over one another under the influence of gravity, and you're also paying attention to how your cast shadows get projected onto the surfaces beneath them. The first page was definitely a stronger example of this than the second page however - on the second page I think you got a little tunnel vision focusing on the forms and their immediate surroundings and ended up losing touch with the pile as a whole. As a result, those on the left end up floating in the air, and being seen at a different angle than those on the right, resulting in inconsistency in the ground plane beneath them. Always try and keep in mind how the whole set is oriented in space, relative to the ground plane.

Anyway, all in all, pretty solid work. I'll go ahead and mark this lesson as complete. Keep up the great work.