Starting with your arrows,

• Fantastic work executing your side edges with confidence. This really helps to avoid the kind of erratic widening and pinching of the arrow structure that can result from a wobbly line (something we can see for example here but that isn't present throughout the rest of your arrows - I believe you ended up hesitating there because it was very close to the edge of the page), and as a result your arrows largely conveyed a strong sense of existing in 3D space.

• I'm also seeing a clear effort to apply foreshortening to both the positive space (the structure of the arrow itself) and the negative space (the gaps between the zigzagging sections), which really helps push the sense of depth in the scene. One thing to keep in mind - and this is just me getting ahead of a potential issue - often times students feel hesitant to allow their zigzagging sections to overlap one another, having the impression that it "feels wrong". This actually isn't the case - overlaps are a very useful tool to convey an extreme sense of depth, with the sense that the arrow is coming straight at the viewer. So, if you ever catch yourself avoiding these, keep in mind that they're actually a good thing in the right circumstance, so feel free to include arrows like that in your practice for this exercise going forward.

Continuing onto your organic forms with contour lines,

• Overall you did a pretty good job of sticking to the characteristics of simple sausages. There were certainly cases where those characteristics were not achieved, but you're clearly demonstrating that your intent is to adhere to them. Doing so is not always easy, so it's normal to run into little hiccups with the midsection getting wider, or the ends being of different sizes or not entirely circular - so keep working at it, but as it stands you're progressing well.

• Your contour lines are drawn confidently, with both the ellipses and curves achieving smooth, consistent shapes, and fitting snugly within the sausage form's silhouette to give a clear impression that they wrap convincingly around its surface. I would recommend that you try and work towards drawing through your ellipses two times. Three is okay as you're getting used to the confident stroke that's required, but when it gets excessive it can lose the ellipse you intend to draw, so pull back on that a bit (still ensuring to draw through two full times and no less) as long as you can maintain that confidence.

• When it comes to the degree of your contour lines, for your contour ellipses you appear to be maintaining the same degree in many cases (an issue that is discussed here), and for your contour curves, they appear to be shifting consistently but in the wrong direction (they seem to get narrower the further away from the viewer we move). Remember that the basic rule of thumb is that we want our contour lines' degrees to get wider the further away they move, with more dramatic bending of the form adding its own factors. I recommend reviewing Lesson 1's ellipses section as it goes over the way the degree works in some depth, including the video at the top of the page.

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 good job of applying the process outlined in those reminders (outlining intentionally designed shapes, then filling them in) - it's very common for students to forget to apply this, or to only apply it minimally. You do have cases where you still shift to drawing one-off strokes without adhering to this process, which makes it easier to slip back into drawing directly from observation (without the "understanding" phase where we identify what the things we observe tell us about the 3D forms that are present), so do keep pushing yourself to adhere to that process.

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 work on this front does indeed have lots of room to grow and improve, as is expected, you are clearly demonstrating that you're thinking about these spatial relationships in the manner we hope to see, so good work there.

• 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.

As to this latter point, it's hard to deny that your linework is extremely clean and precise when constructing your forms, and you're showing a great deal of thought and consideration in most cases. Do however remember the following:

• Don't correct mistakes, like this one here where you redrew the box's edge. While it's absolutely true that you could be called out on the wobbling and lack of confidence in that mark, when we correct mistakes we give our brain leave to think as though the mistake never really occurred, or that it happened but it wasn't a big deal because it was fixed. This dilutes the educational value of the mistake, whereas leaving it there, working with it, and potentially having it called out as an issue helps it have a more meaningful impact for your development.

• You appear to be drawing your cylinders, at least in some cases, with edges that are parallel on the page. This is incorrect - edges are only represented by parallel lines on the page when their vanishing point is at infinity, which in turn only occurs when that set of edges is aligned perpendicularly to the viewer's angle of sight in 3D space. To put it simply, there are very specific conditions for that to happen, and since we're rotating our forms in this exercise fairly arbitrarily, those specific conditions are unlikely to be met.

• Also, avoid stretched forms for this exercise as explained here.

And lastly, your organic intersections are coming along well. You're demonstrating an understanding of how the forms relate to one another in space, and how they slump over one another under the influence of gravity - and you're leveraging cast shadows to emphasize these relationships to great effect.

All in all, solid work. I'll go ahead and mark this lesson as complete.