Alrighty, I'm not going to mince words with you here, as I don't think it will be in your benefit. Instead, I'm going to make a few very quick points before they get lost in my tendency to talk way too much. I'm still going to probably talk a lot, but I want you to understand these points because they are all critically important:

• Firstly, your work on this lesson is unfortunately not well done.

• Secondly, looking at your previous work, it is very clear to me that you are capable of doing far better than this. I'm not saying that to be nice, or to soften harsh feedback - looking at your Lesson 1 and box challenge work, I can very clearly see things that you chose to follow and adhere to there, that you chose to invest the time that work demanded of you, and that for whatever reason, you did not do so here.

• Thirdly, based on the previous point, assuming you give yourself the time that you need to see the work through to the best of your current ability, you will be able to produce a body of work that will be significantly better, and would allow me to do my job of providing you with feedback on how to improve more effectively.

• And fourthly, while I am not above fully cancelling homework submissions whose work I feel was not given the appropriate time and energy per the requirements for official critique (cancelling homework submissions just returns the credit they spent to their account, allowing them to spend it again, but in turn they do not receive feedback, since what they need to do to meet those requirements should be fairly self-explanatory), I am not going to do that in your case. I'll be giving you clear feedback on what you can do to improve here, but you will be expected to do the lesson over (not including the texture section, and I'll explain why shortly), and submitting it for feedback will cost you an additional credit.

So the main issue across the entire lesson is that you seem to have forgotten to apply a lot of the concepts and principles from Lesson 1, which continue to be relevant throughout the entire course. So first I want to touch on all the notable instructions that are being missed.

• Engaging your whole arm from the shoulder. This one is less of a dire issue, because it's not abnormal for students to forget to do it here and there. In your case, the tendency to have your ellipses come out pointy or uneven (like these here) is a good sign that you aren't giving yourself enough range of motion (by for example drawing from your elbow only), and so when you hit the limits of what your chosen pivot will allow, you end up having to suddenly change which pivot you're using. This results in a sudden change in trajectory, like a sharp turn, or a wobble. Not at all strange for it to happen on occasion, but this is definitely something you struggle with to a significant degree.

• Drawing through all of your freehanded ellipses two full times before lifting your pen. You adhere to this instruction some of the time, but also skip it a great deal as well. You skipped it in the dissections, in some parts of the form intersections, as well as in circumstances where you were drawing contour curves, but were drawing a full ellipse where the whole thing would have been visible. Drawing the ellipse in such cases is correct, but since you're doing so, you need to be drawing through it two full times.

• Using the ghosting method. The ghosting method is to be employed for every mark we freehand throughout this course, and it's extremely important that you do so. It is a methodology that worms its way into the back of your brain and influences the very way in which we think about drawing. It may not seem critically important, but it is - and so it needs to be applied for every freehanded mark. Lines, ellipses, curves, whatever - the process of first planning, preparation, and finally executing with a confident stroke is critical, because it allows us to break the complex task of making a particular mark into distinct stages, where each stage can focus on its own priorities. When we try to do it all at once, we have a tendency to do them all badly. You also may find yourself tempted to not go through the planning phase for every step, skipping it in order to save time - but that very easily leads to students' markmaking suffering as a result, which then results in them slowing down their execution to compensate, which in turn leads to them moving away from the ghosting method in its entirety.

• Using the Y method to construct your boxes. While this is less of a strict rule, what matters is that you're thinking about the things the Y method forces you to consider - mainly ensuring all of the lines in a given set are converging consistently as they move back in the distance. While most of your form intersection boxes aren't bad, they could be considerably better as far as the convergences go, and the absence of any of the tell-tale marks of the "negotiating your corners" procedures from the Y method makes it clear that you chose not to use all of the tools at your disposal.

• Constructing cylinders and cones around a minor axis line. This point isn't as dire as some of the others, especially since it is an instruction that was introduced somewhat loosely as part of the form intersections exercise, but it does work with the rest to establish the pattern that you need to give yourself more time to go through the instructions carefully and mindfully, so as to apply them more effectively to your work. You'll find this particular instruction illustrated in the diagram for this step.

• Mistake: Small groups of forms. Since this links directly to one of the issues we highlight as things to avoid in the form intersections instructions, I'll leave it to speak for itself.

Looking back at your lesson 1 work, you're clearly capable of executing smooth, evenly shaped ellipses. Looking at your work from the box challenge, you are clearly capable of applying the ghosting method very well, and constructing boxes that do a great job of considering those consistent convergences. It's been about a month since the last of those was submitted however, so there's one additional potential cause for the issues above other than simple carelessness. It comes down to whether or not you've been practicing the exercises that have been introduced in Lesson 1 and the box challenge into a regular warmup routine, as explained here in Lesson 0. If you haven't, then it is extremely important that you do so.

Before I leave you to complete the lesson again, there were some sections where I felt you the issues above didn't impact your results quite as heavily, resulting in cases where providing more exercise-specific feedback would be beneficial for your next attempt:

• For your arrows, you're tending to draw them quite small. Because we're working in 3D space, with perspective and all that, there will inevitably be parts of your arrows that are tiny (specifically those parts that are far away), but right now you're very limited in how big you're allowing them to go, and that is drastically limiting how much depth you're able to convey. Additionally, don't be afraid to make full use of the page in front of you - it's what you absolutely should be doing. So that means both making your arrows bigger in general, as well as maybe adding a couple more per page. Lastly, remember that perspective doesn't just impact the physical arrow itself - it also impacts the negative space, the gaps between the zigzagging sections of the arrows, as discussed here.

• For your organic forms with contour lines, prioritize sticking as closely as you can to the characteristics of simple sausages as noted here. Your sausages aren't outside of the realm of what I see regularly for this lesson, so if that is you pushing yourself as far as you can to stick to those characteristics, then fair enough - it'll improve as this exercise becomes part of your regular warmup routine - but I want to make sure that what I'm providing you with feedback on is you doing it to the best of your current ability, as that is the only way for me to be able to give you meaningful, actionable, and useful feedback.

• For the contour lines/curves, note the common mistake explained here. It describes the specific issue that is present in your work. When you do this exercise in your next swing at the lesson, I want to see you "overshooting" your curves as shown there.

• For 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). You are kind of doing this decently, at least in the texture analysis. In the crumpled paper you're doing an excellent job of focusing on the use of specific shadow shapes that you're designing and filling in intentionally. The rope texture tosses this aside somewhat and falls into the trap of trying to draw your textures line by line (instead of adhering to the methodology explained in the reminders I linked previously). The tree bark texture is somewhere in between, as are your dissections. As a whole, within the realm of what we're looking for - not without plenty of room for improvement and instructions not being followed as closely as they could be, but still serving its purpose. As such, I don't want you to include this exercise for your second attempt at Lesson 2, but you will have to check off the boxes when submitting it in order to have the system allow it to be submitted for official critique.

• While a lot of the notable issues I called out related to your form intersections, the interesting thing here is that similarly to the texture material, we introduce the form intersections here for the same kind of reason. To introduce a problem that we will really be focusing on in the constructional drawing exercises from lessons 3-7. What we're doing here merely gives context to what we'll be doing, so as to direct those efforts more effectively. I do of course want to see that students are able to take the concepts relating to markmaking, ghosting, convergences, etc. and apply them in the context of a much more complex task as well (and that's where you dropped the ball) - but it's worth mentioning that you are demonstrating a far better general understanding of the intersections themselves than most students at this stage. So kudos to you for that.

• For your organic intersections, keep sticking to the characteristics of simple sausages (avoid the pointy ends that occur sometimes), overshoot your contour curves, and most of all, DRAW BIGGER. Drawing bigger will help engage the part of your brain responsible for spatial reasoning, while also helping you to engage your whole arm more naturally and effectively, and you'll likely find that it makes it easier to address a lot of the general issues you're running into.

So, all in all, I can confidently say that you are capable of way better than this, and I don't really have any doubts that in the long run you can apply the lesson material effectively. But something has gotten in the way. I won't presume to know the cause, just that for whatever reason, you were in a position such that you did not keep previous instructions in mind, broke away from how the basic methodologies were to be employed, and as such could not complete the work as required, to the best of your current ability.

When you do submit your Lesson 2 work again, do me a favour and just note that it's a second attempt in the submission comment. That'll help me consider it in its appropriate context, will help to explain the absence of the texture section (I really don't want you having to worry about that section - it may not seem like it right now, but I do want to get you through Lesson 2 and out the other side), and will generally give me the best shot at helping you out to the best of my ability.