Alrighty! So while I've glanced at your last submission and the critique I gave you, I expect I'll probably repeat myself if the same issue comes up, and I may miss areas where you've definitely improved. I'm basically going to be dealing with this one as a fresh submission for the most part.

Starting with your arrows, these are flowing pretty nicely though space, and the arrow heads are handled far better this time around. Now I am noticing that the gaps between the zigzagging sections tend to remain consistent as they move back in space, rather than being subjected to foreshortening (which would cause them to compress as shown here).

Moving onto your organic forms with contour lines, you're doing a decent job of sticking to simple sausage forms, which is the first thing I'll generally look for. You are however missing an important component - you haven't drawn the minor axis line through the center of your sausages. This line is important because it provides us something to align our ellipses and contour curves to.

The contour ellipses themselves are otherwise well drawn - I'm pleased t osee that you're also thinking about how their degree changes as we slide along the form. The contour curves have that same quality, but they fall short in one key area - they're not convincingly wrapping around the sausage form. In the notes I just linked, I talk about 'overshooting' those curves to help exaggerate how they wrap around. Definitely try that out.

Continuing onto your texture analyses, this is a solid start. You're clearly thinking in terms of clearly defined shadow shapes, and you're using them well to cover the full gradient from sparse to dense. You're even properly obscuring the edge of the solid black bar, blending it smoothly into that texture instead of ending up with a sudden jump. The next thing I want you to work on is thinking about how each of these shadow shapes really is a shadow being cast by a specific textural form. The shadow shapes we draw imply the presence of a specific form, so when we draw them we need to be actually thinking about that form, and what kind of shadow it would cast. Often when students start out with this they'll learn to see the shadow shapes and then transfer them directly, not necessarily thinking about what actually casts them, and as a result their textures don't really convey to the viewer what kinds of forms are present there.

You're still doing fine - this is just the next step you'll be thinking about.

For your dissections, instances like the corn texture are pretty well done, but I'm noticing that you seem to be taking those shadow shapes and then letting them stick right off the surface of the sausage forms. This is where what I just mentioned about thinking in terms of textural forms that cast shadows come into play. A shadow is always cast from one form onto another surface - this means that your shadow shape is going to be restricted to the surface of the sausage itself.

It seems like here you might be mixing up a few different concepts from the lesson. In these notes we talk about breaking past the silhouette - that's the idea that a sausage's surface is going to be smooth, but if you cover it with lizard scales it's suddenly going to have a bumpy surface that sticks out beyond that basic smooth edge. Those scales that stick out past the silhouette however are still just our textural forms. So where they stick out, we can adjust the outline of the sausage itself, as shown in those notes.

But we're never at any point filling in the scales themselves, or even drawing the scales directly. We're only ever implying the fact that they're there by drawing the shadows they cast. It's kind of like how on a sunny day, if there's a ball flying through the air, if you're under it and staring at the ground, you'll see its shadow pass by. Without ever having seen the ball itself, you'll still know it was there, because you'll have seen its shadow. That shadow implies the presence of that ball, but it is not the ball itself.

All of this talk about texture is definitely tricky, and I don't expect students to fully grasp it just yet - in this lesson we're just introducing students to the challenge, and aside from drawing shadow shapes so they stick out from the surface of the sausage forms, you're doing a pretty good job with these.

Also, in the near future I intend to redo the demo video for this exercise (it's a bit old, and there are more things I'd like to go over in there), so hopefully once I do so, I'll be able to talk about it in a different way that may make more sense to you.

Continuing onto the form intersections, you've definitely been a lot more purposeful and careful with your linework here. While I do want you to remember not to include forms that are more stretched in any one dimension and to stick to those that are roughly the same size in all three dimensions, mainly to help eliminate the additional complexity brought on by foreshortening.

You've got a good start on the intersections themselves, and it's good to see that you're exploring how these forms relate to one another, and how to define these relationships on the page. That's precisely what this part of the exercise is meant to introduce students to, and it is something we'll continue exploring throughout the rest of the course.

Finally, your organic intersections are a decent start, but that issue I mentioned earlier in regards to your contour curves not quite wrapping around correctly is still definitely present, so we'll address that. As a whole though, you are doing ap retty good job of establishing how these forms interact with one another in 3D space, rather than as just flat shapes on a flat page. Don't forget though - draw each sausage form in its entirety, even if it's being overlapped by another. I can see at least a couple where you cut them off. This will help you better understand how they exist in 3D space, which in turn is critical to grasping how they relate to one another.

All in all you're showing considerable improvement compared to your last attempt, so you've made a huge move in the right direction. That doesn't mean there isn't plenty of room for growth, and you once you move forward y ou'll be expected to incorporate these exercises into your regular warmup routine, along with those from lesson 1 and the box challenge. How the warmup routine stuff works is all explained back in lesson 0.

Now, before I do mark this lesson as complete, I do want to address the organic forms with contour curves thing a little bit more, so I'll assign a couple extra pages of that below.