Hi! Congrats on finishing Lesson 2! I'll be critiquing your work.
Thinking in 3D
I think that the lines of your organic arrows are drawn confidently, so I'll applaud you for that. I also see that you tried to make your arrows have these interesting twists and turns. However, I don't see any line weight on the overlapping points of your arrows. Make sure to add line weight on the overlapping lines to help signify which areas of the arrow are in front of the other. Here's an image to help in illustrating my point. I also recommend adding line weight to the front of the arrow to make it appear closer to the viewer, but it's fine if you don't want to. I also suggest that you make the parts of the arrow away from the viewer more compressed to help signify the 3D appearance of your arrows. In your organic forms with contour lines exercise, I think that you need to work on your organic forms more. I noticed that some of your organic forms have some form of pinching or elongated ends, but I believe that you can improve on it. I would also like to point out that some of your contour ellipses (and curves) have smaller degrees when they're supposed to have larger degrees, judging from where they're placed. Don't be afraid to make your ellipses have larger degrees if necessary. You may want to reread this section about degree shifts. Despite of that, your were able to shift the degrees of most of your contour lines properly, so that's a good thing. You also managed to fit in your contour lines on the forms properly and you also managed to align most of your center lines to the center of the form, so great job on that.
Texture and Detail
I think that you did a great job on the texture analyses exercise. I think that the transition from dense to sparse is done well. You also made use of shadow shapes instead of lines, so good job on that. I do notice that the shadows in the bottom-right rectangle isn't dark enough. You probably have ran out of ink or something similar to that, so it isn't really a major concern to me. Although I applauded you for not using shadow lines in the texture analyses section, I observed that you made use of shadow lines in the dissections exercise. It's fine if you're struggling with capturing these thin shadow shapes. This might help you to avoid making these shadow lines. I also think that you could emphasize the silhouette of some of your textures even more, especially on your cobblestone, fish scales, broken slab & bricks textures. Despite of that, your textures seem to follow the curvature of the form, so good job on that.
Construction
Just like on your texture analyses exercise, I think that you did a great job on your form intersections exercise. You made use of equilateral forms with shallow foreshortening and they all appear coherent. Your intersections may not be perfect, but they were good attempts nonetheless. I also noticed some areas of the shaded side of some forms aren't shaded (take a look at the intersection of the box and the sphere on the bottom-right section of your second page), probably because you were confused of all of these intersecting lines. I believe that you can get better at this exercise if you work on it during your warm-ups. As for your organic intersections exercise, I also think that you did a great job on this exercise. Your forms wrap around the form its sitting on and your cast shadows follow the curvature of the forms.
Overall, I think that you did a great job on this lesson. I believe that you are ready to tackle Lesson 3, but you might need to work on your organic forms and contour lines (and maybe organic arrows and form intersections) during your warm-ups. Remember to take your time and not grind the exercises. Good luck to you!
Next Steps:
Proceed to Lesson 3. Try to work on what you need to improve during your warm-ups.
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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