Starting with your arrows, nice work leaning into confident linework so as to emphasize the fluidity with which they move through space. I can see that you are taking the application of foreshortening to the positive space into consideration with the size differential between the opposite ends of your arrows, although this should be exaggerated further to better convey the sense of depth in the space the arrow occupies. When it comes to the application of foreshortening to the negative space, though it appears to be less of a factor on this page, it appears to be taken into consideration more on this one, where there are more cases that show those gaps gradually compressing more and more the further back we look. Be sure to continue to lean into that going forwards.

Looking at your sausages with contour lines, I can see that you're making an effort to stick to the characteristics of simple sausages. While you're doing pretty well with this already, you'll find the small discrepancies that you encounter here and there (one end being larger than another, a bit of pinching through the midsection, etc.) will continue to improve with continued practice. The contour lines themselves are well drawn, in terms of being executed with confidence first and foremost to maintain smooth, even shapes, and I can see that you are taking the orientation of each cross-section into consideration as you choose the degree for each contour line - although there are some places where you approach this with inconsistency as we see in these two examples (note how the degree gets narrower into the middle, then widens again, despite the sausage itself showing no signs of bending). Also, be sure to remember to draw through all of your ellipses - you've skipped that on some of the smaller ones at the tips.

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).

It's very clear that you've put a ton of time and effort into the observational side of things, although when it comes to applying the methodology explained in those reminders however, it's a bit mixed. I can see you using it in the direct study sections of the texture analysis, although when it comes to the gradients you appear to "paint" on your shadows with one-off strokes, one by one. This can help us lean into observation, but it robs us of the capacity to control and design our shadows - and the "understanding" step (understanding what the things we observe represent as textural forms existing in 3D space). For now, that's not especially abnormal for students at this stage, but as you engage with textural problems as you progress through the course, be sure to try and apply this methodology to the exclusion of all others. 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.

To be fair though, when I say that you put a ton of time/effort into the observational side of things, I really mean it - your dissections especially demonstrate a lot of care.

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). The way in which you're approaching your intersections currently shows that you're thinking through how these forms relate to one another in space - which is exactly what we hope to see at this stage, so great work 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, I'm pretty happy with the patience and care you're using when applying the various methodologies we've introduced thus far. I have just one thing to call out - when drawing your cylinders, don't default to having the side edges run parallel one the page to one another. This would only occur in the specific circumstance where the intent is to have the cylinder run perpendicularly to the viewer's angle of sight, as those are the circumstances that would result in the side edges' VP being pushed to infinity (as discussed in Lesson 1). If this is not your intent - and in this exercise, where we're rotating our forms arbitrarily in space, it wouldn't be - be sure to include some minimal amount of visible convergence.

Lastly, in regards to your organic intersections, your work is somewhat mixed. This page, with all the forms being laid out in parallel, does not really show much consideration to how these forms would drape over one another under the influence of gravity (which is mentioned in this section that advises against it). Your linework there is also very hesitant, which undermines the solidity of the individual sausage forms - remember, no matter what, your first priority is always to execute your marks with confidence, so as to avoid that wobbling. It may undermine your accuracy somewhat, but that is simply something you have to accept. Accuracy improves with practice, but it is a choice to execute marks with confidence.

This page is considerably better - your linework is definitely more confident, and the way in which the forms are arranged is generally leaning more towards them being draped atop one another, although you still do have plenty of cases where they're laid out in parallel, and would as such not be stable atop that pile.

Additionally - and this is an issue in both pages - drawing your cast shadows using the two-step process introduced in the texture section would be very beneficial here. Cast shadows live and die by the specificity of their shapes, and by simply painting your shadows on in one go, you're not giving yourself any opportunity to actually exert any control over the shapes that come out. You're simply leaving yourself at the whims of the tip of your marker, which is inevitably going to come out rather sloppily. So in the future, take your time and go through it one step at a time instead.

All in all, you've got some points to keep in mind, but everything I've called out can be addressed in your warmups as you continue forwards. I'll go ahead and mark this lesson as complete.