Hi Batata! I'm Tonygotcakes and I'll be giving feedback on your L2 submission:

1. Organic Arrows

• You have done a good job selling the fluidity of the arrows and you use hatching & line weight correctly to show proper overlapping between each section of arrows. However, I think you can push the illusion of depth even further by showing more dramatic change in (1) the size of each fold and (2) the space between each fold. You can watch a demonstration by Elodin at 2:12 mark. The gap between each fold is extremely tiny at first but it snowballs and gets exponentially bigger at the end. The same principle applies for the size of each fold. The top left corner arrow of the 1st page shows that you don't push for these elements enough. The bottom left corner arrow of the same page grows in size as it travels towards the viewer but the distance between each fold shrinks instead.

2. Organic Forms

• Some sausages of your 1st page (contour ellipses) are complicated but you are able to keep them simple by the time you get to the 2nd page. When a sausage is simple, it is made up of two balls of equal sizes and a tube of consistent width (see this image). Any sausage that doesn't have this shape is considered complicated (see the image accompanied in this link).

• Most contours align pretty nicely with the body of the sausages with some misalign here and there but overall you've done a good job on this. For the degree shift of your contours, I think you can show more dramatic change in as the degree of your contours look roughly identical. On the 2nd page, one contour curve of the bottom right corner sausage does not hook around the body. For the same sausage, the ellipse of the head has a greater degree than the contour next to it, whereas it should have smaller/roughly the same degree as the contour like other sausages.

• As a suggestion for future warm-ups, you can experiment with more sausage head's orientation (see this image for example). So far you have done the third variation (one of the heads is visible to the viewer) in which contours are facing consistently in one direction but for other variations, you can see contours on either ends are facing at the opposite directions. This will add another factor into consideration and give more practice on your spatial reasoning skill.

3. Textures & Dissections

• Your texture analyses page comes along pretty nicely and you create a nice transition from dark to light in the 3rd panels of each texture. However, for the 2nd texture - 3rd column, the shadow shapes aren't filled in completely and there are visible outlines for some shapes. The 3rd texture - 3rd column shows the same issue as well although they are less obvious to see at first. The same mistake carries over dissections exercise as well (tree, sushi, stone floor). Most textures wrap around sausages' body pretty nicely except for the stone floor.

• You should give the text in blue panels of this page (https://drawabox.com/lesson/2/dissections) a read because this is important to keep in mind for later exercises and lessons. Occasionally you'll see information of earlier/newer exercises is conflicting with information of later/older exercises. This is because the course is constantly being updated and sometimes, the change hasn't made it to the older exercises yet. Whenever you see conflicting information, apply the newer information. In Dissections exercise, we are still aiming for the same goal as texture analysis: capture the shadow that a form casts onto the surface behind it (hence cast shadow) and ignore everything else: local color, form shadow, outline, etc.

• As you can see from this official critique (please read the question of the student & the answer of the teaching assistant first), if you adhere to the instruction from texture analysis exercise, filling the softer/more fleshy part of tomato in black is incorrect. Rather, the harder areas of tomato are elevated and they will cast shadow onto the fleshy part. For textures such as strawberry, bell pepper, you mostly capture form shadow.

• In some other textures, you are outlining the form instead of focusing solely on cast shadow. An example of this is armchair texture. You can see in this image that cast shadow of a sphere has a characteristic crescent shape. As a result in your armchair texture, the little balls should create a C-shape cast shadow area instead of a full circle. Rain drops texture should be approached in a same way instead of filling each droplet in black completely since each droplet has the same spherical volume as well. Another example where you outline the form is scale. You can refer back to the attached image of this section to see how you should approach this texture.

4. Form Intersections

• The main two goals of this exercise are keeping (1) the foreshortening rate shallow & consistent and (2) the form equilateral. The actual intersections are just a nice bonus. You did a good job keeping the form equilateral for all objects. However, some boxes have dramatic foreshortening rate. If you extend them like you did in 250 box challenge, you can see their VPs are pretty close to the box whereas the VPs should be waaay further. You occasionally make mistakes with the intersections themselves but like I said, they are just a nice bonus. Speaking of which, this site (https://eyes.training/intersections/) is pretty useful for understanding form intersections and how shapes connect. You can click each shape and observe how they move into each other and there is also a slider as well to check intersections at a certain time frame.

5. Organic Intersections

• You do not draw through sausages as the tail of some sausages disappears behind others. This is apparent from the top sausage of both pages and the sausages at the second floor (from bottom to top) of page 2. The sausages at the second floor (from bottom to top) of page 1 don't have enough support and will topple to the ground.

• As a suggestion for future warm-ups, you can try out what a teaching assistant suggests in a critique of this submission:

Try experimenting with putting your light source in a different location. It appears both piles have the light source directly overhead. What would the shadows look like if we move the light to the left? The right? A lower angle? Is the light slightly behind the viewer? Or maybe behind the pile of forms? Changing this up will give you some fresh challenges to think about with this exercise.

That covers everything I want to say in this feedback. If you have any questions, feel free to ask and I will try my best to answer them.