I expect you'll be pleased to hear this - you've done a fantastic job here, and have clearly demonstrated the direct application of the information I shared with you in your 25 wheel challenge feedback. Because much of what I gave you there was what I usually share in response to the texture challenge, this feedback is going to be admittedly short - but that is by and large because there isn't a ton more you need on this front. It's also going to be more a matter of pointing out areas where you may not have adhered as closely to the points I raised before as you could have - but to be totally clear, it's really about where to focus your attention going forward, and not highlighting things as mistakes. As far as that's concerned, you've done an excellent job here.

So as we discussed before, textures in drawabox are all about focusing on and inventing our own cast shadows based on how we understand the relationships in 3D space between the forms and surfaces at play. You've largely done a really good job of that, but there are some places where textures leaned back towards the more "explicit markmaking" stuff that we want to avoid here (and that is extremely difficult to avoid, being what makes this exercise so demanding).

For example, if we look at your pile of coins, it seems that this may have been approached by first outlining the coins that would sit towards the middle of the texture gradient. That's not a terrible strategy here. While it's technically against the instructions of only drawing the shadows, rather than outlining the forms which would fall under explicit markmaking, functionally if we were doing this as part of a drawing we wanted to ensure looked good (in other words, not an exercise where the focus is on the process and what we get out of it), if we're just talking about the mechanics of getting a result, if you know a particular area's going to have some kind of shadow, outlining those forms with a thin stroke would be fine.

Where this case goes a bit awry however is where you actually added additional thickness all the way around some of those coins, as we see here. The one that is on top of the rest, visible as a complete circle, has a fair bit of thickness to its right side. This contradicts the idea that all of the marks we're seeing are shadows cast by a light source from the right, which would blast away all but the thinnest shadow along the right side of the coin. So, when we get a thicker line on that side it does throw off the idea that we're looking at cast shadows, and instead throws us back into really bold, graphic outlines being applied to the silhouettes of each form, flattening out the surface as a whole.

For your elephant skin, for the most part you did pretty well with the major cracks - what I would advise you not to do however are all the individual stray little marks you added elsewhere, simply because these did not receive the same consideration that the actual cast shadow shapes did. These are just individual strokes, so they don't have the opportunity to convey relationships between forms in space, which we would require a fully designed shadow shape to achieve.

The last thing I wanted to say is that while the last 2 textures were definitely more difficult, what you said about it being your fault for choosing advanced textures implies that the choice was wrong. It wasn't wrong - you exposed yourself to something challenging, and it was difficult. Again, these are exercises. The goal is not to produce something that is visually pleasing, or to impress me. The goal is to learn and improve, and so by choosing things outside of your comfort zone you have certainly positioned yourself well to achieve that goal, and where better to do that than with the last couple of the set?

For what it's worth, you handled both pretty well. The corrugated steel is a tricky problem to solve, but you handled it as I would have. For the rice krispies, I'd say this one's really solidly done, if unfinished - pushing the shadow shapes towards the left side to make them bigger (remember the diagram I shared with you before demonstrating how the angle at which those left-most forms receive light is quite shallow, meaning that they cast long shadows as a result) will help bridge the texture with the solid bar on that side, and will bring it all together. The rest of that texture was handled quite well, with the only other issue being that you allowed the dropoff to full-white on the right side to be a little sudden.

Anyway, well done. I'll go ahead and mark this challenge as complete.