Jumping right in with your arrows,

• Nice work keeping the focus on executing your side edges with confidence. There's a touch of hesitation, but honestly at the scale at which you're working, I'm not terribly worried, and it's so minimal that it will likely go away as you continue to practice and trust in yourself more.

• You've done a great job of applying foreshortening to the positive space with a healthy size differentail between the end closer to the viewer and the end farther away of each arrow.

• You've also generally shown an awareness of how foreshortening impacts the negative space (the gaps between the zigzagging sections, which compress the further back we look), although I do think this is something you'll benefit from emphasizing more going forward.

Looking at your sausages with contour lines,

• While you are adhering to the characteristics of simple sausages in many cases, there are also other cases like this one and these where you've demonstrated a somewhat tenuous relationship with them, especially when it comes to allowing them to pinch through their midsection (which is one of the things we stress to avoid). Be more mindful of the shape you intend to execute going forward - intent is important, as it drives what we ultimately learn from the exercise.

• You've done a pretty good job of executing your contour lines - both ellipses and curves - with confidence, although it would be a good idea to give yourself a few extra moments in the planning/preparation phases of the ghosting method for each of these.

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, especially in your texture analyses, a strong willingness to apply the methodology described above (outlining/designing your shadow shapes before filling them in), although in combination with other approaches (such as less planned out one-off strokes), and I also noticed that in your pineapple texture, it seemed more as though you were going back over the lines you'd drawn earlier with your brush pen (as opposed to filling intentionally outlined shapes in), although I could be wrong about that.

While 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, 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.

All in all what you've delivered here is still pretty standard for students, and it does show that your observational skills are developing nicely. Just be sure when engaging with textural problems in this course going forward, that you stick to the methodology that allows you to consciously decide on the shapes of your cast shadows first, as this will provide you with considerably more control over the result.

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). The way in which you're drawing your intersections clearly demonstrates that you're thinking about the way in which the forms relate to one another in 3D space, which is exactly 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.

I'm also quite pleased with this latter point - you're demonstrating a great deal of patience and care, even longside such densely packed pages that must have surely tested your patience. Very nicely done.

Lastly, your organic intersections demonstrate that you're thinking about the manner in which your forms drape over one another under the influence of gravity, and I can see that you are making headway in figuring out how to apply your cast shadows to emphasize these relationships.

All in all, your work is coming along well. I'll go ahead and mark this lesson as complete, and you can work on any of the points I've called out as you continue forwards through the course.