Starting with your arrows, I'm pleased to see that you're drawing these with a great deal of confidence, which helps lean into the fluidity with which they move through space. That said, as you continue to practice this exercise into the future, it is important that you put more attention towards considering how your foreshortening applies to both the positive and negative space. As it stands right now, you're not really incorporating much of a consistent size differential between the opposite ends of each arrow (in the sense that they should be smaller as we look farther away and larger as they get closer) - it's there to a smaller degree but definitely should be emphasized quite a bit more - nor are you really playing all that much with having the gaps between the zigzagging sections compress more and more as we look farther back. I strongly recommend reviewing the lesson material on those concepts (as well as the video, which spends a fair bit of time on this), to ensure that you are in a position to apply these concepts more directly when engaging with this exercise in the future.

Looking at your sausages with contour lines,

• I can see that you're making some effort to stick to the characteristics of simple sausages, primarily in the first page, but you seem to be somewhat more distracted from this in the second, leading to more cases where the ends are either more stretched out, or where there's pinching through the midsection. This one in particular is a case where it seems to be more a matter of being distracted and forgetting those characteristics, rather than just having difficulty applying them.

• Your contour ellipses are coming along okay - they're mostly confidently drawn, although do remember to rotate your page to find a comfortable angle of approach as part of the ghosting method's planning phase - there are some spots where as your sausage turns, you end up having more trouble executing a given ellipse, suggesting that you may still be trying to draw from the angle that better suited the preceding ellipses.

• Your contour curves are rather messy - to start, you've got a lot of cases where you're going back over your contour curves multiple times. You should only be drawing each contour curve once. When you go back over them, it is often a sign that the student is, instead of going through the steps of the ghosting method and ultimately executing one mark with intent, that they're letting their autopilot take over.

• Furthermore, you are not overshooting your curves as instructed here.

• In general, the degree of your contour lines tends to either be drawn as being consistent throughout the length of a given sausage, or are otherwise somewhat arbitrary - either way, neither suggests that you're thinking about which degree a given contour line should be drawn based on the orientation of that cross-sectional slice. This concept is discussed both in the video for this exercise, as well as here in the written material.

• The ellipses we place on the tips of our sausages only go on the ends that are intended to be turned towards the viewer, as discussed here. You are consistently placing them on both ends, regardless of how they're intended to be oriented.

By and large, your work for this exercise is pretty severely lacking, with a lot of things pointing to you not going through the instructions as carefully or closely as you could have, or there being some other issue in how you approached applying those instructions that interfered. You'll want to reflect upon why exactly so many points laid out in the material were missed and not considered - usually it's simply a matter of the student not giving themselves enough time - so that it does not continue to persist through the rest of the material.

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).

I'm pleased to see that you've used this methodology extensively throughout your texture analyses, and while you did drift into a more varied set of approaches in your dissections, that is pretty normal given that most students end up focusing primarily on the observational side of things there. While we do still want students to ensure that they're not skipping over the "understanding" phase discussed in the reminders linked above, this is not a matter of concern at this point. As you engage with textural problems going forward through the course however, do be sure to more intentionally stick to this two-step methodology of outlining/designing your shadow shapes, then filling them in, for all of your textural marks to the exclusion of all other approaches. 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.

A couple extra things to keep in mind going forward:

• It seems you forgot about the specific purpose of the solid black bar on the left of the texture analysis gradient, which is discussed here. We define that extreme black so that your gradient can smoothly transition between those extremes, with the goal being to obfuscate the hard edge of the black bar. If that hard edge is still discernible, then your texture isn't being pushed far enough on that side.

• I noticed a few spots in your dissections where you relied on more chaotic marks (like the rope texture). Remember that as discussed here you want to avoid scribbling or putting things down randomly, and more specifically we want to think about every mark we put down as though it is a shadow being cast by some specific textural form.

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 far as this point is concerned, for the most part rather than introducing new edges to define the border between two given intersecting forms, you instead resorted to drawing back over the existing edges, which is very different from what's illustrated in the demonstration. There were just a few spots - like this here where you drew new edges within the area where those forms overlap on the page, to try and establish how they relate to one another in 3D space. Tracing back over existing edges is something students generally do when they are afraid to risk putting down marks that are incorrect, as despite not being what's demonstrated, it tends make them feel like they're taking less of a risk. Unfortunately, we want you to take those risks. Instead, this diagram may help - it outlines that we should only be adding lines within the overlapping area as shown in the top of the diagram, that we should avoid tracing over existing edges as shown in the middle (this is specifically what you're doing right now), and the bottom shows how this could look. Again - we don't care if you're getting the intersections themselves right or not at this point, we just want to see whether you're engaging with the right problem.

• 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 the latter point, your work is somewhat mixed, but generally okay. I can see that you're applying the ghosting method and there are clear signs of the use of the Y method's negotiating of curves. That said, there are two main things I want you to keep in mind:

• You should not be switching your pens to a thicker one. In general, throughout this course, you're only ever going to be using your 0.5mm fineliner, except when you need to fill in shadow shapes for texture, where you can reach for a thicker pen or a brush pen. Any situation where you add more thickness to a line should follow what's discussed here in Lesson 1 - it lays out specific circumstances and usecases for line weight, as well as specific restrictions on how it should be employed. Unilaterally drawing your intersections with a thicker pen is not part of the instructions here.

• 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, the way you're drawing the sausages in your organic intersections does show that you're thinking about how these forms drape over one another in 3D space, although your use of cast shadows (or more specifically, the tendency to conflate cast shadows with line weight and blend them together) is running into some issues. First and foremost, keep in mind that cast shadows and line weight are fundamentally different tools. Cast shadows can be very large but they have to be cast upon an existing surface (and therefore doesn't just arbitrarily stick to the silhouette of the form casting it), and the specific shape they take corresponds to the relationship in 3D space between the form casting it and the surface receiving it. Line weight on the other hand should be kept very subtle and focused on the specific localized areas where overlaps between lines need additional clarification (per what's discussed here in Lesson 1. I also noticed that here you seem to have drawn a cast shadow before finishing adding all of your sausages, resulting in another form being dropped on top of it, with its own cast shadow, resulting in a visual inconsistency that makes it impossible for the viewer to determine which one is on top.

I've made some corrections on your work here, though you'll also want to refer to the material from this section and the one below it.

In general, your work here suggests pretty strongly that you may not be giving yourself nearly enough time to fully absorb the information provided in the lesson material and apply it to the best of your current ability. Keep in mind that there's no requirement that you complete a given quantity of work in a single session - and so you are most certainly welcome and even encouraged to spread out a single page's work across multiple sittings if that's what it requires in order for you to do the best of which you are currently capable. While it is normal to miss the odd instruction here and there, missing a great many of them tends to suggest an issue with how you're approaching the material. I'll be assigning some revisions so you can address some of the issues I've called out, but this is something you'll want to reflect upon more broadly in order to ensure you adjust your approach to allow you to absorb the information more fully.