Jumping right in with the arrows,

• Great work executing your side edges with confidence - it keeps things smooth, and avoids wobbling which can result in erratic widening/narrowing of the structure that undermines the impression that it exists in 3D space.

• Your application of foreshortening to the positive space (the structure of the arrow itself) is coming along great.

• When it comes to the negative space (the gaps between the zigzagging sections), I am very happy with the willingness to overlap the zigzagging sections, as that's a fantastic way to convey depth. The only thing I wanted to note as an issue is that you have a tendency to suddenly widen the gap at the very end, where the little tail kind of flicks out, which does serve to undermine the depth you're already creating. So try to avoid that going forward.

Continuing onto your organic forms with contour lines,

• Great job sticking to the characteristics of simple sausages in most cases - you have a few where one end gets visibly smaller than the other, but for the most part this is going well.

• For the contour ellipses, while you are shifting your degrees, you seem to consistently be making it follow the pattern of being narrower towards the center and wider towards the ends. The degree should be based on the way in which the sausage is moving through space. You can review the ellipses section from Lesson 1 which goes over this in depth - both in terms of how a simple straight form like a cylinder would behave (the further back the cross-sectional slices are along the form, the wider the degree is when drawn on a page), and in terms of how more generally the degree shift is based on the orientation of that cross-section relative to the viewer's angle of sight.

• When it comes to the ellipse on the tips of your sausages, keep in mind that these exist.. well, at the tip of the sausage. We're just able to see the full ellipse because that tip is turned towards the viewer. So, make sure that it's placed at the tip, and that the degree corresponds to the one immediately before it, as shown here. The wider the appropriate degree is, the further back from the edge of the silhouette it'll be, but most of yours would be pretty narrow because they're not turned that dramatically to face the viewer, and so the ellipse would be pretty close to the edge of that silhouette.

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).

For the texture analyses, good work sticking to the methodology of outlining intentional cast shadow shapes, then filling them in as discussed in the reminders. I can see that you are employing this somewhat in the dissections as well, though you are much more willing to break away from it and draw one-off strokes instead. That's not at all uncommon at this stage, but it is however important that you keep pushing yourself to work with those filled shapes throughout - if a shadow is so slight that it can only be drawn with a single stroke, then it may be better to leave it out, as those kinds of marks tend to have a minimum size that leads to a sudden jump from a shadow being present to no shadow at all. Designing shapes on the other hand transitions much more smoothly from cast shadows being present, to no cast shadows being visible, allowing us to control them more effectively. Also, when drawing with one-off strokes, we're more prone to drawing directly from observation without the intermediate step of understanding how the things we observe exist in 3D space, so we can actually consider the spatial relationships in play.

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 far as this is concerned, you're headed in the right direction in terms of what you're thinking about when drawing the intersection lines.

• 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.

You're also doing well in terms of this latter point, although just two things to keep in mind:

• You're drawing your cylinders with very parallel edges on the page, which tells me you're forcing their VPs to infinity. This isn't something we control directly - it's the intended orientation of the form itself, and so those edges will only be parallel on the page if the edges themselves in 3D space are oriented perpendicularly to the viewer's angle of sight. If you can't guarantee this - and in this case, we're dealing with forms that are rotated fairly arbitrarily - then you should always include at least a little visible convergence.

• Remember that you're meant to avoid overly stretched forms for this exercise.

Lastly, your organic intersections are coming along well. Overall you're demonstrating a good grasp of how they slump and sag over one another under the influence of gravity, although you are leaving a bit of a gap between the forms in some places (most noticeably underneath the second-top-most sausage on this page that you'll want to avoid.

All in all, your work is coming along well. I'll go ahead and mark this lesson as complete.