Starting out with your arrows, nice work keeping the focus on smooth, fluid, confident markmaking when drawing your side edges. When it comes to the application of foreshortening however, that is an area you will want to give a little more attention going forwards. As to its application to the positive space of your arrow, it is certainly there - I can see a visible size differential where the closer end gets larger - but it's something that can certainly be emphasized, while also generally drawing your arrows larger on the page (which will also help both engage the use of your whole arm from the shoulder, and activate the part of the brain responsible for spatial reasoning more fully). As to the negative space, the gaps between the zigzagging sections of your arrows tend not to really change much, which further limits how much depth is being conveyed here.

Lastly, I can see a number of places where you've accidentally applied your hatching incorrectly (as we can see here where the hatching is placed on both ends of the same stretch of ribbon), which largely suggests that though you understand what you're doing on that front, you are not giving yourself enough time to be in full control of how you approach drawing it, resulting in your work being somewhat sloppy. In this course - and frankly, in every course you take - taking the time to ensure that you're producing the work to the best of your ability is critical (and it is also a firm requirement of official critique, so we can ensure that we aren't spending time calling out issues that are simply the result of carelessness).

Looking at your sausage forms with contour lines,

• You're generally adhering to the characteristics of simple sausages - this does take practice, but I can see that you are aiming for these characteristics on a conscious level, which is what we want to see at this stage.

• Your contour ellipses and contour curves are both drawn with confidence, which helps maintain even shapes, although your contour curves are not being drawn in such a way that they actually hook around at the edge of the silhouette to continue along the other side, and as such, they flatten the form out. You can read more about this in this section, where the upper part of the diagram is more similar to how your contour curves are drawn.

• Don't forget that all of the ellipses we freehand throughout this course should be drawn through two full times - including the smaller ones on the tips of your sausages, where this tends to be forgotten.

• It seems that you're largely drawing your contour lines with the same degree throughout the length of a sausage (although sometimes they come out with seemingly random degrees). Either way, this is not correct. As discussed here (and as is also covered in the video for this exercise which you may find more helpful), the degree we choose for a given contour line corresponds to the orientation of that particular circular cross-section of the sausage.

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've employed this approach in a number of places (although I would recommend using a thicker pen or a brush pen to fill in those shapes more thoroughly), and you are demonstrating some very well developing observational skills. That said, it is still very much alongside the kind of one-off strokes that going forward through this course it would be a good idea to avoid. 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.

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). Generally the way in which you're drawing these intersection lines - by which I mean the choices behind where to place your curves/lines/etc and not the actual execution of those marks, which I'll expand on in a moment - is in line with 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.

In regards to this second point, your work is falling extremely far short of what you are capable of. Looking back at your Lesson 1 work, you largely did a fantastic job, and therefore what you've demonstrated here makes it clear that you did not give yourself nearly enough time to execute the work as well as you can. While I can see that your boxes and pyramids are generally okay, you're not drawing through any of your ellipses, and you're going back over your marks with chicken scratch to add line weight, instead of applying it in the manner discussed here in Lesson 1. You are also not constructing your cylinders or cones around minor axis lines as instructed here, and your use of hatching is extremely sloppy and rushed.

You are capable of far better than this, but more importantly, this is a clear example that you are not adhering to the requirements for official critique. Those requirements are there to ensure that before we provide feedback, students are doing everything in their power to do the work to the best of their current ability (most prominently, giving themselves as much time as they need, and spreading the work across as many sessions as required rather than trying to get everything done in one sitting) so as to allow us to provide that work as efficiently as possible. The reason being, those students who do not allow credits to expire are only covering about half of the cost of providing that feedback, with us covering the other half. So, we need to rely on the students to ensure that our time is spent focusing only on what they cannot accomplish themselves through simple patience and care.

I know that sounds harsh, but based on your previous work you are entirely capable of nailing what we expect to see right now. You've shown it before, and there is nothing stopping you from doing it again.

Lastly, your organic intersections are coming along decently, with the second page being a marked improvement over the first in terms of how you're thinking about the way the forms drape over one another under the influence of gravity. One thing to keep an eye on however is that when drawing your cast shadows, you tend to let them cling closely to the forms casting them, as discussed here in the lesson material. It does improve into the second page, but do keep that point in mind as you practice this exercise in the future.

Now before I mark this lesson as complete, I will need you to submit some revisions - you will find them assigned below.