Starting with the structural aspect of your wheels, by and large you've handled this fairly well. I'm pleased to see that you've generally build up your wheel structures to include a widening through the midsection to help create the impression that the tire itself is inflated and would land with a bounce, rather than a heavy thunk. Additionally, I noticed that you've generally also been mindful of building up the spokes of your wheels' rims individually, considering both the outward face and the side plane to create completely solid forms. On this last point however, I did notice a tendency in some places to be a bit sloppier in this regard, for example with this ford model T wheel where the distinction between the front and side plane of those spokes becomes less distinct. It's not necessary to draw the edge separating them, but we still do have to be very purposeful in how we design the silhouette of the spoke overall so as to clearly convey the presence of both planes. We can see another example of this becoming quite a bit sloppier and less distinct with this wheel, so be sure to keep this in mind.

Ultimately the way in which we've approached executing each and every freehanded mark throughout this course still does apply here - so we still need to be planning and preparing each individual mark as per the ghosting method, before executing that stroke with a single confident mark. I definitely did notice a tendency to become somewhat rougher and more sketchy with your linework as you progressed through the set, leaning a lot more into trying to capture different tones of shading which as explained here in Lesson 2 is not something we include in our drawings for this course, instead completing our drawings fully in solid black and solid white.

This leads to the second part of the challenge - its textural aspect, which is primarily focused on how we tackle our tire treads. This part of the challenge is laid out as something of a trap - being as far removed as we are from Lesson 2, it is very common for students to be unsure of how to go about tackling these arrangements of small textural forms, and unfortunately many of them don't consider going back to review that section. As a result, they end up attempting to tackle the problem through a variety of other means, albeit ones that don't align with the overall priorities of the course.

This largely serves as a reminder to students not to try and wing it, but rather to go back to the lesson material and review it when those issues come up, and of course to ensure that we're not leaving anything behind in regards to our warmups. In this case, I'd recommend in particular that you review:

• The concepts of implicit markmaking (as opposed to explicit markmaking), and cast shadows. In regards to the cast shadows, remember that there is a clear distinction between what constitutes a cast shadow and what is just form shading. When you fill in the side planes of forms as we see here, that's form shading, as the surface is darker or lighter based on its orientation in space relative to the light source. Conversely, a cast shadow involves adding a completely new shape whose design conveys the relationship between the form casting the shadow, and the surface that receives that shadow. If you find yourself filling in an existing shape without first having to consider how that shape should be designed, take a step back and reflect on exactly what decisions you're making.

• Review these reminders which go over the fact that when capturing texture in a drawing we're not drawing what we see - but rather we're using the reference as a source of information to help us better understand the nature of the textural forms that are present. It is then that understanding which we use to decide how each shadow shape must be designed.

In addition, another common issue that can arise is when students deal with textures made up of cracks, holes, or in the case of many shallower tires, grooves. As explained in this diagram, it's easy for students to fall into the trap of filling in those holes/grooves/cracks completely, rather than considering the actual forms that are present there. Because we can ascribe a name to these things (the cracks/holes/grooves) it's easy to assume that they are the textural forms we're dealing with (in the way that a bump, scale, or brick might be other kinds of "named" textures we encounter). They're not, of course - they're an absence of form. Keeping that in mind helps us focus on the walls surrounding the grooves as being the textural forms that cast shadows upon one another.

Now, as this issue is one that is largely expected, and its intent is to remind students to go back and review material they may have allowed to be forgotten, I will not be assigning revisions. Just be sure to review the material I've pointed out before moving forwards.