10:04 PM, Thursday October 1st 2020
Starting with your arrows, you've drawn them such that they flow smoothly and fluidly with a great sense of confidence. One major issue however is that right now they appear to be moving strictly through the two dimensions at the surface of the page, conveying no real depth to the scene. While you are applying foreshortening to the arrow itself, making the end closer to the viewer appear larger and the end farther away appear smaller, you haven't done the same sort of thing to the negative space - the gaps between the zigzagging sections. Making those gaps get smaller and tighter as we look farther back will help emphasize this sense of depth, as shown here.
Moving onto your organic forms with contour lines, you've mostly done a pretty good job of sticking to the characteristics of simple sausages as mentioned in the instructions. There are a few places where your ends get a little more stretched out (instead of remaining perfectly circular/spherical) but that's a normal thing you'll just have to keep your eye on when practicing these in the future.
You've also done a good job of drawing the contour lines themselves confidently such that they wrap around the sausages believably. The only thing that caught my eye here was that the degree of your contour lines all appear to be the same as we slide along the length of the form.
The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.
Moving onto your texture analyses, I can definitely see a lot of improvement in your observational skill even across these three rows. The first one, especially in the gradient, appears entirely oversimplified, relying very much on remembering what you saw, rather than actually observing it more directly.
One thing where you are falling short across all three however is that you're not really creating much of a gradient as you move from left to right. As a whole you rely entirely on lines, rather than shadow shapes (aside from a couple specific places), and so you're not really left with any tools to expand the amount of black towards the far left, and to gradually reduce it as we move to the right. One key way in which you can see that this has not been achieved is the fact that we can still clearly identify the edge of the black bar on the far left - ideally this would be smoothly transitioning right into your texture.
For this I have two recommendations:
Firstly, use this two-step process for every single textural mark you put down. By forcing yourself to first outline a shape and then fill it in, it'll force you to think in terms of shapes, rather than simple strokes, which simply don't have the kind of dynamism we're looking for. You can also see this demonstrated here with an example of why shapes are far more dynamic than basic lines.
Secondly, with that in mind, give these notes a read. They focus on the difference between just outlining all your textural forms, and actually capturing the shadows those forms cast, and using those shadows to imply the presence of the forms.
The same principles essentially carry over into your dissections as well. For the most part you've done a pretty good job of pushing your observational skills and developing them further (especially compared to that crumpled paper texture) but you definitely do rely on outlining your textural forms a lot, and that is a habit you'll have to work on breaking.
Moving onto your form intersections, your work here is for the most part really well done. Your linework is solid, and you've drawn the forms such that they feel cohesive and consistent within space. The one thing you didn't do correctly was that you ignored this warning, which basically says to stay away from longer, stretched forms like the long cylinders you used.
I'm very happy with how much you've pushed your use of the intersections - while they're not necessarily all correct, that is not something I am concerned with right now. This exercise serves as an introduction, a sort of gateway to show students that these spatial problems exist, and that we can think about them and roll them around in our heads. This is something we'll continue to explore throughout the entirety of this course, and it is something we'll definitely build upon and improve as we go. As it stands, you're off to a good start.
Lastly, your organic intersections are also off to a good start. You're definitely thinking about how these forms can be established as to interact with one another in 3D space, rather than just being stacked on a flat page. There is definitely room for improvement, and I think the actual mileage you got out of this - piling a maximum of 4 forms per page - was pretty minimal, so I do hope you'll explore it further in your warmups.
All in all your work is coming along well. The issues with the textures are fairly normal and expected, and similarly to the intersections, that was an introduction to something new, so I won't be holding you up on account of that. I'll go ahead and mark this lesson as complete.
Feel free to move onto lesson 3, and be sure to keep up with these exercises (along with those from the previous lessons/challenges) as part of your regular warmups.