Alrighty! So, starting with your arrows, I think you're doing a great job of capturing how these arrows flow fluidly through space and across the page. One minor point to keep in mind here is that while you're applying perspective to the positive space - that is, the width of the ribbons, making them get narrower as they move farther back in space - you're not quite applying it to the negative space. In this case, the negative space is the distances between the zigzagging sections - the space between them, which will also compress as we look farther back. This will quickly result in those zigzagging sections overlapping one another, which is a great way to demonstrate depth in a scene and to avoid the sense that the arrow is just moving across the surface of the page.

Next, looking at your organic forms with contour lines, you're doing a good job of keeping the ellipses snug within the silhouette of the forms, and your contour curves ware wrapping quite nicely along the rounded surface of your sausages. There are some slight alignment issues when your forms turn in space, but as long as you keep an eye on it, that should sort itself out with practice.

One important point you're definitely making an effort with but still do need to work on is maintaining a simple sausage form. The key here, as described in this section of the instructions, is that every sausage form must match specific criteria:

• Both ends must be spheres of the same size - watch for situations where they are of different sizes. We also want to avoid any situations where they're not spherical, though you don't seem to have any such cases, which is good, as it's a common issue among other students.

• We want to avoid any pinching or swelling through the midsection of the form, sticking to a simple tube that maintains a consistent width throughout its length.

One might ask why we want to keep our sausages to being two equally sized spheres connected by a tube of consistent width. It's because this 'simplicity' helps to establish the illusion that the form itself is solid and believable. As we get into constructional drawing, we learn to build things up from simple forms because they're the easiest to make solid. As we combine more and more simple forms, we can develop greater complexity overall, but without losing that illusion of solidity. Instead, if we make our base constructional forms more complex, it becomes much more difficult to maintain the illusion that what we're drawing is actually three dimensional and not just a series of lines on a page.

Moving onto your texture analyses, I can see a great deal of time and effort going into studying your textures, and taking notes. Overall you've done a pretty good job of focusing wholly on shadow shapes, and working on reducing your reliance on the use of outlines when implying the presence of textural forms. I do think that there is room for improvement (which will come with practice) when it comes to the observation side of things - that is, identifying specific pieces of information to transfer over into your drawing, and relying as little as possible on memory (going back to look at your reference over and over, only looking away for long enough to put down one specific mark at a time). You're demonstrating pretty solid observational skills for the initial study (the leftmost square of each row), but you end up relying more on memory when working on the density gradient.

You're continuing on the trend of your work coming along nicely through the dissections. I do think that maybe drawing your sausages bigger (with perhaps fewer of them spread out across the page) would have allowed you to dig a little better into each individual texture. When we force ourselves to work within a really small space, it can be much more difficult to engage the part of our brain that we rely upon for spatial reasoning, so working bigger is an easy way to help give ourselves all the tools we need.

I have to say, I really liked the message you wrote to yourself on the top right of the first page for this exercise - "It's not a test, relax Ray!" is spot on.

One last thing for this exercise - I think you may be pressing a little hard on your pen, as the line weight of your marks seems to be pretty heavy and uniform throughout. Our pens are able to create a range of weights, and when we draw with a lighter touch, we can ensure those strokes taper a little towards the start and end. This tapering can make our lines feel more lively and fluid, whereas drawing with more pressure can make everything feel a little clumsier and more stiff. Definitely something to keep in mind, which in combination with drawing bigger will help you achieve greater nuance in your textures.

Moving onto your form intersections, I think you're doing a really good job of drawing these forms in a consistent manner within the same space, avoiding issues that may make the forms feel as though they're just pasted on top of one another from different drawings. There are a few more minor issues to point out, though:

• Remember that in the instructions, I did mention that you should stick to forms that are roughly equilateral (about the same size in all three dimensions), and avoid forms that are more stretched like longer cylinders. It's basically because the more we stretch our forms, the more foreshortening we integrate into the exercise, and the more difficult we make an already challenging exercise. Since this can distract us from the main focus of the exercise, it's best to set things up so we can focus best on the exercise's main core.

• There are definitely places where you're drawing through your ellipses too much, to the point that they're starting to get away from you. Drawing through them 2-3 times is best (I know you caught sluggydragon telling you otherwise in your lesson 1 critique, and I'd confirmed that you were right in my comment on that video). More than that and we start to lose sense of which ellipse you were trying to capture.

• Two things about line weight: line weight is above all meant to be a subtle whisper to the viewer's subconscious. Making a line just slightly thicker by going back over it with a light touch can be enough to communicate to the subconscious without shouting in their face. It is of course easy to end up going overboard, so always try and lean on "less is more". Secondly, I'm glad that you're adding line weight to limited local areas rather than along the entirety of a given length, but you do need to work on getting that weight to blend back into the line you're reinforcing. Being more subtle will definitely help, as will what I mentioned earlier about allowing your strokes to taper on either end (by not pressing too hard with your pen).

I think you're demonstrating an excellent start with your actual form intersections, which shows that you're on the road to developing your spatial reasoning skills quite nicely. As you're already aware from the lectures in Lesson 0, this spatial reasoning is core and fundamental to Drawabox as a whole, and this exercise serves only to introduce it as a concept and to get students to start thinking about how their forms actually relate to one another in space. I don't at all expect students to be able to demonstrate any capacity for this just yet, and any success that you have right now is a big plus. We will continue developing your understanding of these relationships as we move through the lessons, doing so in the context of constructing more complex objects from these kinds of simple components. It is a skill we'll be developing all the way to the end of Lesson 7.

Lastly, I think your organic intersections are coming along great. The first page definitely shows the understanding of how these forms interact with one another as they pile up, though the camera angle from which we're looking at the stack (more or less a top-down view) does allow for a little more leeway. Your second page reinforces the fact that you're doing a great job of understanding this concept, however, as the sausage forms wrap around one another and demonstrate gravity's effect on them through their own behaviour as they attempt to find a state of equilibrium. You're also using contour lines here very effectively to capture the illusion of space.

All in all, I think you're doing great work, and are demonstrating an overall strong grasp of the concepts covered in the lesson. There are a few things to keep in mind as you continue on, but you'll have ample opportunity to employ what I've mentioned in my critique in the next lesson. So, I'll go ahead and mark this one as complete.