Hello Susiana, I’ll be critiquing your submission today; if you have any questions, feel free to ask below. With that said, I’ll go ahead and review your submission.

Organic Arrows

Your lines prove to be mostly smooth and consistent within both pages, and the principles of mark-making from lesson 1 are adhered to properly. The direction of compression on your arrows is clear; the width of the arrows gets smaller as they grow further away, which conveys proper perspective. As you circle back to this exercise during warm-ups, take some liberty to experiment with the “positive space” of the arrow and try exaggerating the length between the widths.

Now although the initial marks are smooth, the line weight added is a little off track from how we should be applying line weight and in result appears quite wobbly/hesitant. Just as a refresher, our approach to line weight should be restricted only for clarifying positions between two (or more) overlapping forms. In this case, line weight would be drawn over short distances where either; A.) The edges overlap as they change direction. or B.) The arrows themselves overlapping over each other. Here’s the example homework for reference, fairly easy to miss but you can see where line weight is subtly applied in certain areas.

Hatching looked a bit better on the 2nd page however the difference in line quality between the arrows and hatch work is noticeable. Seemingly a symptom of choosing accuracy over confidence. I suggest looking back on the principles of mark-making in Lesson 1 where it’s established that smooth lines above all else is our main priority.

Organic Forms

Starting on your forms, sausages clearly show the intent of a tube with two spheres on opposing ends, with some cases of pinching/bloating. Not much cause for concern though, keep practicing with the aim for the width of sausages to remain consistent in warm-ups.

Organic Forms with Contour Ellipses

Ellipses on sausages are clearly drawn through at least 2-3 times, and the degree shift is correctly made relative to the viewer. The degree shift could be pushed further as multiple ellipses on the mid sections look like they repeat themselves more than once. Once the the first ellipse is drawn, ensure the next 3-4 ellipses are drawn with enough progression of degree shift so it helps distinguish the direction of the sausage a little easier.

Organic Forms with Contour Curves

Contour curves made on sausages are well made here; degree shift is still properly applied when possible, as well as hooking over the form. Just be careful between that last phase of ghosting and performing the mark since a few of these hooks come close to a full ellipse. But since overshooting is much preferred in this exercise it’s totally okay.

Similar to the ellipses, the degree shift is somewhat difficult to gauge and appears to look the same across the entire length of the form. Stiffness of the contour curves also contributes to the roundness of the form appearing less convincing. Reasonably so, it's a lot harder to convey degree shifts with contour curves. Try to consider the half of the curve that is not visible and how it would change depending on the degree.

Texture Analysis and Dissections

Starting with the texture analysis, it's clear you’re getting a grasp on how cast shadows operate on the crumbled paper. You’ve done great to blend the black bar on the paper texture but the other 2 transitions are a little weak, the black bar is still fairly easy to point out and don’t really contribute to showing how the texture gradually changes from dense to sparse. Aside from that, no issues. The attention to the silhouette was especially done well, all bends in the sausages were well adhered as the textures progressed the body of the form.

Form Intersections

Solving the intersections in different forms is pretty challenging on the first go, so I'm not too concerned about your ability to cross each object. As explained on the lesson page, it's more about how cohesive the page appears —the illusion that these forms exist in the same space. That being said, a majority of the forms look somewhat equilateral but there’s a tendency to make cylinders, cones, and prisms in differing dimensions. Try to judge the size as you go along so the size disparity isn’t too apparent. Hatching improved as you got through the pages and pretty much ironed out all mistakes on the fourth page.

Organic Intersections

Forms drawn look consistent, and the usage of contour lines appropriately describes the 3D aspect. But the structure of a few forms gives away the illusion that they could balance on top of each other. If we think of these forms as water balloons, it's much easier to judge how the masses will behave against one another. Cast shadows are also done appropriately.

All in all, I think you understand the Lesson 2 concepts well, so I’ll go ahead and send you off to Lesson 3. Keep up the good work.