Really nice work! Your construction is largely looking quite solid, and the attention to detail you've demonstrated here is quite exceptional when it comes to every little detail present in the tire treads and the rims. There are actually some issues as far as how you've chosen to tackle that detail, which I will address, but the patience and care with which you approached it is certainly impressive.

So in the texture section of lesson 2, we go over the differences between drawing in an explicit manner versus drawing in an implicit manner, and how we adjust and change the techniques we employ to lean in either direction. Explicit generally employs constructional techniques (drawing with a lot of outlines, defining the borders between volumes, and so on - the sort of thing we do for our main forms and the primary structure of what we're drawing). Implicit drawing will rely instead on drawing around the textural forms we wish to convey, capturing the shadows they cast on their surroundings, without actually clearly defining the boundaries of the textural forms themselves.

Usually when dealing with texture, we'll approach things implicitly for a number of reasons. Firstly, it's easy for texture and detail to be so dense with little forms that drawing every single one creates too much contrast and noise. Secondly, it can also be a massive pain in the ass to draw so many little marks, since approaching things explicitly tells the viewer that everything we're drawing is present, and anything we haven't drawn is simply not there. Working implicitly sidesteps this necessity by never making such an agreement, and instead implying the presence of far more than we actually end up drawing. It leaves the density of detail in our hands, for us to control, without changing the nature of what is being conveyed.

Now in most of your tire treads you haven't crossed into a point where working as explicitly as you have has become a problem. In most cases the complexity of the tire treads looks entirely pleasant - but the key thing here is that by drawing everything in a full outline, you do not leave yourself the option to hold back, to let the viewer's imagination fill in the gaps. By working in line instead of by capturing the shadows those form cast (which themselves can seem to manifest at times as line, but can also create shadow shapes with greater variation), you're locked in.

So, what I want you to do is take some time to read through the in the texture section of lesson 2. It's been entirely rewritten, with new videos and all, as of the beginning of this month, so there are a number of elements that may be explained better than your last run through that material. You may also want to look at the demo video for the texture analysis exercise as well, as it has also been redone.

Anyway! Despite everything I've had to say about texture, I'm very happy with your work here, and I feel very confident in your ability to construct forms and objects. I'll go ahead and mark this lesson as complete.