I'm not sure if I should be worried or flattered that you've requested me (or you could just want to compare this to your original critique which is also valid), regardless seeing as I'm the only person critiquing Lesson 2 at the moment you're stuck with me for now. Know that in the future though you're unable to request who critiques your work.

I should also note that seeing as how this is your second critique for this lesson it may look/sound quite familiar as I use a lot of the same puzzle pieces for critiques (helps me handle the volume of them as well as prevent physical and mental burnout of looking at thousands of submissions). If something does stand out and need commenting on however then I would do so of course.

After this critique if you have questions regarding anything then you're of course encouraged to ask them as well.

Now let's begin.

• Starting off in the arrows section your lines are looking smoothly and confidently drawn. There are spots where your arrows bulge/narrow suddenly, this is an issue because it gives the impression that your arrows are stretching which hurts their solidity. Remember that as our arrows move closer to the viewer we want them to widen consistently. 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. 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.

• In the texture section you're demonstrating good observational skills by being able to separate and clearly focus on the cast shadows formed along your reference. You're doing a good job of transitioning your gradients from dark to light as well rather than having sudden changes. Before moving on to the next section I'd like to quickly point you to this image which shows that when working with thin line like textures we benefit from outlining and filling the shadow's shape rather than just drawing a line. We get much more dynamic and interesting results this way. Remember that each texture is it's own challenge so be sure to experiment with different types when practicing this exercise in the future. I will quickly point out that while most of your attempts here are better looking that you previous attempts, your meat dissection is focused on colour shifts rather than cast shadows, and your grass dissection is focused on outlines, these are the 2 standouts that could be better but they may also be the last ones you did at which point you may have just wanted to be done with the exercise (understandable but always try your best).

• It's quite common for people to feel like they don't fully grasp the form intersections exercise, if you feel like you may fall into this category try not to stress too much. This exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming lessons.Your forms are looking quite solid here and they believably appear to belong in the same cohesive 3D space, good work.

• While wrapping up your submission with the organic intersections exercise you do a great job demonstrating that your sense of 3D space is developing as your forms begin to wrap around each other believably. - While wrapping up your submission with the organic intersections exercise you do a great job demonstrating that your sense of 3D space is developing as your forms begin to wrap around each other believably. 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. When it comes to your shadows you're pushing them enough so that they cast rather than just hugging the form that creates them which is a great start. 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. Quick final note for this section, don't neglect the small contour ellipse that should be on the viewer facing end of your forms.

Overall this was a solid submission, while you may have some things to work on I have no doubt you will improve with more mileage. I'll be marking your submission as complete and move you on to the next lesson.

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