Starting with your arrows, nice work executing your linework here with confidence, so as to appropriately convey the fluidity with which the arrows move through space. I can see that you are generally working in the direction of considering how foreshortening applies to both the positive and negative space of your arrows, although I think that with the negative space there is less consistency so this can stand to be exaggerated further. Though cases like this show a steady compression of the gaps between the zigzagging sections, there are still plenty of cases where they remain more consistent, and some as we see here where they even expand. You're headed in the right direction though, just be sure to keep that aspect in mind and avoid the temptation to flare out the last gaps when you feel they start to get too close - note that in the video for this exercise, we do specifically mention that though students may feel awkward about letting the zigzagging sections overlap, that it is the correct choice.

Looking at your sausages with contour lines, I can see that you're making a conscious effort to stay within the characteristics of simple sausages, so nice work there. Your contour lines are also drawn with confidence so as to maintain even shapes and appropriate curvatures, and I can clearly see that you're mindful of how the degree should shift to appropriately convey the orientation of each cross-section in space. Just be sure to draw through all of your ellipses - including those small ones at the tips of your sausages - two full times before lifting your pen, as is required for all of the ellipses we freehand throughout this course.

Continuing onto the texture section, one thing to keep in mind is that the concepts we introduce relating to texture rely on skills our students generally don't have right now - because they're the skills this entire course is designed to develop. That is, spatial reasoning. Understanding how the textural forms sit on a given surface, and how they relate to the surfaces around them (which is necessary to design the shadow they would cast) is a matter of understanding 3D spatial relationships. The reason we introduce it here is to provide context and direction for what we'll explore later - similarly to the rotated boxes/organic perspective boxes in Lesson 1 introducing a problem we engage with more thoroughly in the box challenge. Ultimately my concern right now is just how closely you're adhering to the underlying steps and procedure we prescribe (especially those in these reminders).

I can see that you're certainly making considerable use of this two step methodology of outlining/designing your shadow shapes first, then filling them in, particularly in your texture analyses. In your dissections you tend to shift to other approaches line less controlled one-off strokes (which are also present here and there in your texture analyses, although not very much). That's pretty normal to see at this stage, as students tend to focus more on observation and less on the "understanding" phase as discussed in the reminders linked above - but as you continue to engage with textural problems throughout the rest of this course, strive to adhere to this two step methodology to the exclusion of all others and always focus on the idea that what you're drawing are not simply whatever dark areas you see in your reference, but rather actual shadows being cast. That is, considering how the forms you observe sit in space in relation to one another, and what kind of shadows they would cast on their surroundings.

When it comes to the two step methodology, it's true that there are certainly going to be shadows that are cast that are so small they can't reasonably be executed using our two step methodology, but in such cases it's better to actually leave them out, for the following reasons:

• A designed shape, despite not being something we can create quite as small as a one-off stroke, tapers in a more nuanced, delicate fashion, whereas a one-off stroke is more likely to end in a manner that feels more sudden. Thus, the shapes lean better into our goal of creating a gradient that transitions from black to white (and ultimately we have to pick a point for the shadows to drop off altogether anyway, so pushing a little farther with singular strokes isn't strictly necessary).

• Drawing in one-off strokes allows us to lean more into drawing directly from observation (as opposed to observing, understanding the forms that we see as they exist in 3D space, then creating shadows based on that understanding), which can be very tempting as it can allow us to create more visually pleasing things without all of the extra baggage of thinking in 3D. But of course, 3D spatial reasoning is the purpose of this course.

Anyway, as a whole you're progressing well here, and are demonstrating observational skills that are developing nicely.

Moving onto the form intersections, this exercise serves two main purposes:

• Similarly to the textures, it introduces the problem of the intersection lines themselves, which students are not expected to understand how to apply successfully, but rather just make an attempt at - this will continue to be developed from lessons 3-7, and this exercise will return in the homework in lessons 6 and 7 for additional analysis, and advice where it is deemed to be necessary). As it stands, the way in which you're approaching drawing your intersection lines clearly shows that you're thinking about how these forms relate to one another in 3D space, which is precisely what we hope to see at this stage.

• The other, far more important use of this exercise (at least in the context of this stage in the course) is that it is essentially a combination of everything we've introduced thus far. The principles of linework, the use of the ghosting method, the concepts surrounding ellipses along with their axes/degrees, perspective, foreshortening, convergence, the Y method, and so forth - all of it is present in this exercise. Where we've already confirmed your general grasp of these concepts in isolation in previous exercises, it is in presenting it all together that can really challenge a student's patience and discipline, and so it allows us to catch any issues that might interfere with their ability to continue forward as meaningfully as we intend.

As to the latter point, overall your work is coming along well, and I can see a lot of patience and care in how you're approaching constructing your forms and executing your marks. That said, there are a few things I want to draw to your attention:

• Your use of line weight is pretty arbitrary and quite heavy. Throughout this course your use of line weight should be limited to what's explained here in Lesson 1.

• When drawing your cylinders, don't default to having the side edges run parallel one the page to one another. This would only occur in the specific circumstance where the intent is to have the cylinder run perpendicularly to the viewer's angle of sight, as those are the circumstances that would result in the side edges' VP being pushed to infinity (as discussed in Lesson 1). If this is not your intent - and in this exercise, where we're rotating our forms arbitrarily in space, it wouldn't be - be sure to include some minimal amount of visible convergence.

• Additionally, while it's not entirely clear if this is your intent, I'm noticing a variety of places where you appear to be drawing the end of your cylinder which is intended to be closer to the viewer as seen here as being the one with the wider degree. The closer end should be narrower.

Lastly, your organic intersections are coming along well. The way in which you're drawing them shows that you're thinking about how they drape over one another under the influence of gravity, which is what we're looking for. You're also making good headway in the use of your cast shadows.

All in all, your work is progressing in the right direction, so I'll go ahead and mark this lesson as complete.