Really phenomenal work overall. I'll break my feedback down into each individual exercise, but as a whole, your work here is coming along great.

Starting with the organic arrows,

• Fantastic work maintaining the confidence of both side edges of your arrows - it's easy to hesitate and overfocus on accuracy when drawing the second edge, which can add wobbling which, even when very slight, can undermine the 3D nature of the structure by adding tons of arbitrary widening/narrowing of the structure, and you've done a great job to avoid that - while still managing to maintain pretty consistent widths throughout.

• Very nice work paying attention to how foreshortening might apply to the positive space (the structure of the arrow itself), as well as the negative space, where you've been mindful of compressing the gaps between the zigzagging sections the further back we look.

• I'm nitpicking here (this issue only comes up once and there's no reason to think there's a pattern of misunderstanding behind it), but I figured I'd call it out anyway. In this arrow, just before the arrow head, it seems you fell into the issue described here. I'm sure this was just a momentary slip-up and not something intentional, but the reason it's incorrect is because it would require the outer edge on that turn to stretch out, and the inner edge to compress/get shorter, which would demand the material the arrow's made of to be stretchy in nature. It doesn't undermine the 3D illusion outright, but it does add an extra requirement that can - when combined with other similar points - gradually undermine the viewer's suspension of disbelief.

Continuing onto your organic forms with contour lines,

• You're generally sticking pretty closely to the characteristics of a simple sausage, although I think you do still have a tendency to let the structure widen through its midsection, giving more the appearance of a bean than a sausage. Similarly to the point I made for the arrows where these individual demands build up and put strain on the viewer's suspension of disbelief, the concept of the simple sausage is built on similar notions. We try and avoid as much complexity as possible, drilling down to the simplest form this structure can take, so that it can serve as a building block for what we construct in the future. That said, you're almost there - just try to focus on achieving a relatively straight, cylinder-like consistency in the sausage's width through its length, and combine that with the relatively spherical ends you're achieving currently.

• Excellent work drawing your contour ellipses and contour curves - they're executed confidently which helps maintain the sense that they're wrapping around a rounded form.

• When it comes to the degree shift for the contour lines, I'm seeing a mixture of cases where the degree remains consistent throughout, and cases where they're fairly consistent, but somewhere in the middle the degree gets narrow as we see here. As a whole this does suggest that you may want to review what's explained here, as well as the Lesson 1 ellipses section which talks at length about how the degree shifts work.

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).

You've done a stupendous (I'm running out of adjectives) job here, both in demonstrating a great deal of patience and care in your observation of your textural references, but also in adhering to the methodology outlined in the reminders linked above - specifically ensuring that you're designing/outlining each individual cast shadow shape, and then filling them in. It's very normal for students to be somewhat looser in their adherence to that methodology, but you appear to be holding to it in just about every circumstance, which is great to see.

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). While your intersections aren't perfect, the manner in which you're tackling them is excellent, and far exceeds what we expect 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 latter point, you've continued to demonstrate a considerable degree of patience and care with every step, and a consistent use of the tools you've been armed with earlier in the course. Very well done. There's just one minor point I wanted to call out - when drawing your cylinders, don't draw the side edges as being parallel on the page. This - which would result from the vanishing point that governs those edges being at infinity - only occurs when the cylinder itself is specifically oriented perpendicular to the viewer's angle of sight. Any situation where we're rotating our forms fairly arbitrarily is going to demand that vanishing points not be at infinity, and so as you've drawn your boxes, you'll want to include a bit of convergence when drawing your cylinders as well to avoid the impression that you're forcing those VPs to infinity when they should not be.

Lastly, your organic intersections demonstrate a similarly well developing understanding of how these forms relate to one another in 3D space - in particular under the influence of gravity - and the cast shadows help to reinforce these relationships to great effect.

As if I haven't said it enough - spectacular work. I'll go ahead and mark this lesson as complete.