In case you were unaware, last week we were running our seasonal Promptathon event, during which TAs get the week off - so if you were unaware and worried that your revisions had slipped through the cracks, that's the reason we haven't gotten to them until now. Also, I'll be taking over, as Tofu requested that I swap in and handle this round of feedback myself.

Looking at your old work in comparison to your latest attempt, I can see a couple of the areas Tofu discussed in his previous critique being addressed here - namely, you're more consistently extending your lines away from the viewer (although not always - there are spots where you're still running into issues, like 56 on this page where the red lines are extended towards the viewer, and 63 on this page where you started extending those red lines in the wrong direction, and then appear to have abandoned the rest of the extensions for that one). There are other such cases, here I'm just naming a couple.

I can also see that you've made an effort in many cases to draw your boxes bigger, although this is something you're inconsistent with at times too, but I can see that you are trying to address these points.

For the cases where you're extending your lines in the wrong direction, this simplified approach from the notes (which Tofu did mention in his feedback) can help us ensure that we're extending our lines in the right direction, even if we don't understand the why behind it, so that our error analysis is consistently being done in a manner that is useful to us, and helps to identify areas for improvement. All it requires is that we pay attention to the Y we used when starting out our box.

Now, there are two major areas where I believe you still have a great deal of room for improvement, the biggest of these being in your line quality, and the confidence with which those lines are being executed. This was a point Tofu did draw a fair bit of attention to - you tend to execute your marks hesitantly, rather than with confidence, which results in a lot of wobbling.

The ghosting method introduced in Lesson 1, which we're expected to apply for every single mark we execute throughout this course, is specifically designed to break the markmaking process into separate stages, each with their own responsibilities. The planning stage serves specifically to help us identify the nature of the mark we wish to make (where it starts, where it ends, how it should be oriented, and how we can best approach it), the preparation stage serves to get us accustomed to the motion we'll be using to make the mark, and finally the execution phase is all about accepting that from the moment our pen touches the page, any opportunity to adjust or change the course of our stroke has passed - all we can do is execute it with fully confidence, committing to what we'd prepared.

When students forget to apply the ghosting method, or end up forgetting about its specifics, what we tend to see is that students will invest less time into the planning and preparation phases, ultimately shifting all of that time into the execution phase to compensate - which has the opposite effect, with that additional time causing us to hesitate, resulting in extremely wobbly linework.

I expect that is what happened here - rather than reviewing and reflecting upon what the ghosting method is meant to involve, you may have relied on limited recollection of how to apply it.

The other notable issue is that there still appears to be a fair bit of randomness in terms of how you choose to orient your given edges. In many cases it feels as though you may not be giving yourself as much time as you require to consider, "how should this edge be oriented on the page so it aligns consistently with the other edges of its set". Unfortunately we can't just put marks down and hope for the best - we have to look at the other edges that have already been drawn, as well as consider the edges that have yet to be drawn, and think about how they all need to be oriented to converge consistently together, rather than in pairs.

As an example of this issue, take a look at number 80 on this page. The blue lines extending towards the upper left meet in pairs (one pair for the lower plane, one pair for the upper plane), instead of all gradually converging together to a single point. The same can be seen in the red lines, which extend towards the upper right. While this kind of issue is normal, we can only really improve on this front by actively thinking about how these lines relate to one another, not in the vicinity of the box itself, but all the way back at the vanishing point they share, as shown in this diagram.

While we generally hesitate to assign a ton of additional revisions on the box challenge (you've already completed 350 at this point), the issue with lines being wobbly and the ghosting method not being applied correctly to your linework is a pretty significant issue that does need to be addressed. This issue isn't one pertaining to your current skill level - it's all about how you're approaching executing that linework, and right now your approach prioritizes accuracy over confidence, despite Lesson 1's explanation as to why we need to focus on the confidence of our strokes first, even if it undermines our accuracy. Invest as much time as you need into the planning and preparation phases to bolster that accuracy, but at the end of the day, the moment your pen touches the page you need to focus only on executing with confidence and maintaining a consistent trajectory.

Please submit another 30 boxes. For these, I want you to specifically demonstrate:

• Proper usage of the ghosting method - this will be time consuming, so remember that as explained here in Lesson 0, your responsibility is to give yourself as much time as you require to do the work to the best of your ability. If that means spreading a single page of boxes across multiple sittings or days, because you need to give each mark a ton of time, then that's what you'll have to do.

• Keep working on thinking about how your lines need to be oriented in order to converge as consistently as possible. Watching this video by ScyllaStew on how she approaches drawing boxes may help you better understand how to go about this.

• Make sure your line extensions are being applied correctly each time - you're doing much better on this front, but you are still slipping up here and there. Be sure to employ the approach described here so that your lines extend correctly, even if you get confused in terms of which way your box is oriented.