Organic Arrows

• As arrows get farther away, the space between their segments should also get compressed/smaller

• Using hatching “folds” an arrow either towards or away from us - some arrows have hatching which folds the back, smaller part towards us, making them look less 3D

• Hatching should go fully across an arrow’s width - I’d also recommend fewer hatching lines, as they convey the same idea with less work

• Some arrows are missing line weight, or aren’t capped off at the end

• Some arrow’s curves don’t match - this will improve with practice, but rearranging the steps of this lesson (like here https://drawabox.com/lesson/2/4/example) might also help

• You’re not afraid to overlap your arrows, which makes them look more 3D, nice work

• Most of your arrows’ widths get smaller as they move further away, good job

Organic Forms / Contour Ellipses

• Some forms pinch at the middle - it’s something to keep in mind, but as long as you’re aiming for simple organic forms, it shouldn’t be much of an issue

• Some contour ellipses don’t align to their organic form’s minor axis/where the minor axis should be

• Some ellipses’ degrees don’t change with their form

• Most ellipses are drawn through 2-3 times, and are executed confidently, well done

Organic Forms / Contour Lines

• Two forms have contour ellipses instead of lines

• Some contour lines’ degrees do not vary/turn with their organic form

• Your contour lines hook around and reflect the shape of their forms, good work

Texture / General

• Each mark should be deliberate and build a specific shadow shape - avoid scribbling/hatching

• If a detail is small enough to warrant a single mark, that mark should still be shaped in an intentional way and convey a cast shadow

Texture Analysis

• The black and white bars for the texture gradients should be blended into the texture to the point where they’re not clearly visible - try making the transition from dark to light more smooth

• For the bottom texture, incorporate the varying rotations found in the texture study into the texture gradient as well

• The top and bottom textures have some outlined forms

Dissections

• Some textures have fully outlined forms (pangolin scales, snake scales, stones)

• Some dissections capture the surface color or form shading of an object (watermelon, chrome/metal) - for these exercises, we want to capture changes in a form's surface, which are things we’d feel running our fingers across an object. Things like watermelon or smooth metal have a lot of color changes, but not so much change on their surface

• Some dissections don’t transition smoothly from dense to sparse levels of detail, and some have cast shadows going in inconsistent directions - It may help to picture the light source for each dissection, and then base cast shadows off of it (like in the texture gradient section)

Form Intersections

• Your forms are solid and roughly equilateral, good work

• Some pages/forms are missing hatching - I’d recommend applying hatching to every form you can in this exercise, as it really helps to keep track of all the stuff on the page

• Some forms have hatching on more than one face, which can confuse the viewer’s eye and make things look less 3D

• Some line weight is overly heavy, and some linework has wobbles - it’s harder with so much to keep track of, but make sure each line you make is confident and follows the ghosting method

• The fourth page has a standalone pyramid

• Some cylinders’ ellipses have the same degrees - the back ellipse should have a greater degree than the one in front (see here for more detail on constructing an ellipse https://drawabox.com/lesson/250cylinders/1/degree)

• Some intersections on the forms are incorrect, but these aren't the core focus of the exercise, and will improve with practice

Organic Intersections

• Some contour lines hook into the poles of the organic forms, which makes them look “torus” or donut shaped instead of simple

• Some of the linework wobbles - keep trying to apply the ghosting method

• Some cast shadows at the bottom of page 2 act more as outlines, going around the entire form, instead of casting a shadow based on a light source

• I’d recommend line weight for clarifying overlaps, as it helps a lot with keeping track of which forms are in front

You've gained a very solid understanding of the concepts Lesson 2 teaches, well done!