Hey there I'll be handling your lesson 2 critique.

This submission was very well done, I took a look at your previous submissions and read that you're going through the lessons again and it suddenly all made sense in terms of quality. Welcome back to the lessons, I hope you're filling in any holes in your understanding this time around.

I'll be listing a few mistakes I notice below, but I'll be honest that this will most likely be a brief critique since the quality is quite well done and you clearly have a grasp of what you're aiming to do in most of the exercises here.

• Arrows are great, you're using foreshortening really well. My only suggestion is you may want to experiment using foreshortening in your hatching as well, when closer to the fold you can have hatching lines squeezed more tightly together and as you move away from the fold you can have the gap between each line widen. Small not important criticism, just a small detail that can help push an images quality slightly higher.

• Organic forms with contours are all looking solid, you do get a bit close to creating them more complex than we'd like at times but you keep it restrained just enough to work. Just remember we want both ends to be about the same size, and avoid pinching, bloating or stretching along the form. Good job shifting the degree of your contours along the form as well.

• When it comes to texture you have a bit of a mix of quality occurring, in some spots like your wood weave you focus on shadows and are really good at implying detail, you nailed the exercise in this case. You do have a few textures like your lego attempt which is the opposite however and focuses more on the outlines and trying to explicitly draw all the detail you can see. In this case it's just matter of working on being more consistent, which is understandable because texture is complicated and each new texture is it's own puzzle in a sense. I'll redirect you [here] (https://drawabox.com/lesson/2/6/notransition) for a refresher on our goal of focusing on the cast shadows created by forms along a texture, and how it's beneficial in terms of implying detail and how we can use this in a gradient to create focal points in a larger piece.

• Your form intersections are looking really solid, I'm glad to see you're experimenting with line weight too, keep it up and you'll get more consistent with it and have less instances of it not lining up as cleanly as you may like.

• The shadows in your organic intersections puzzled me a bit at first, I can tell that you tried to have the light source directly above your forms which is totally fine and you did a pretty good job at doing so I'll add. You do have to be a bit careful in cases like this however because if the light source is close enough it creates an issue where it looks like your shadows may favour a certain side, and any info against this just leads to a bit of jarring/puzzling moment for the viewer as they try to piece things together. My only real advice for this is that if you want to have a light source directly above it'll take a lot of experimentation, if you want to build up an understanding of shadows having a clear source will make things simpler for you and the viewer in general.

Overall this was a excellently done submission and I'm glad to see that a lot the tools you've learned here in the past are clearly helping you still today.

I'll be marking your submission as complete and moving you on to lesson 3.

Good luck, and I hope you achieve your goals.