I'll be the TA handling your Lesson 2 critique.

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 with the arrows section you want to be making sure you're drawing confidently to keep your arrows as smooth as possible, accuracy will come with mileage. 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. It's good to see that you're trying to implement line weight, just remember that you want to keep your applications subtle and you'll become consistent with mileage. here are some things to look out for when applying it. At times you don't overlap your edges when you should, this results in your arrows flattening out as you can see here. I'd like you to experiment more with foreshortening 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.

• Moving into the organic forms with contours exercise 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 mostly 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.

• 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. You also show that you're drawing from memory rather than giving yourself enough time to focus on your reference. Most of our time when doing exercises like this will be spent observing our reference and looking away for a quick second to add something to our page. 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.

• In the form intersections you either choose not to draw intersections, or often draw them as small ellipses/planes which shows that you may not be spending enough time considering how these forms would interact with each other. Your boxes tend to have diverging lines, you're not drawing through all of your ellipses (which is something you do in both of your organic form sections as well), and you're making multiple groups of forms rather than one large group as the instructions explained to do. Overall this feels very rushed.

• While wrapping up your submission with the organic intersections exercise you do a good 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. I'd like you to draw through all of your forms when attempting this exercise again in the future, it will help reinforce your understanding of the 3D space you're creating. At times your shadows are hugging the form creating them rather than being cast on to another surface believably. 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.

It's clear that you didn't take as much time as you needed throughout each section as there are lots of small issues which weren't followed or applied with as much care as they could have been. It's also only been 2 weeks since your box critique which further reinforces this belief. Lesson 2 is an odd exception to the rest of the course where it's primary focus is introducing a lot of the more difficult concepts that you'll be using throughout the rest of the course, we don't expect you to do them well and there isn't anything here that I can reasonably call out revisions for. I will be marking your submission complete, that being said if you continue to work at the pace you're choosing to you're likely going to be asked for heavy revisions if not total redoes of future exercises/lessons, so I ask that you slow down. Whether you choose to take this advice and criticism is up to you.

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