Jumping right in with your arrows, your work here is somewhat mixed. There are a lot of cases where you lean into a more confident execution of the side edges, which helps lean into the fluidity with which the structures move through space, although there are also cases as we see here where your execution is more hesitant, as well as cases like this where the execution is confident, but less consistent. Keep working on engaging your whole arm from the shoulder - it may help to watch the video once more, as I use multiple camera angles to show in more specificity how my arm is moving, so you can try and match that. As you get more comfortable with the use of your whole arm from the shoulder, it becomes quite useful as a stabilizer, allowing us to make these larger, fluid strokes at a somewhat slower pace, which in turn allows us to regain some control without sacrificing its confidence.

Another aspect in which your work is somewhat mixed is that in some cases you show a strong willingness to lean into applying foreshortening to the negative space, allowing the gaps between your arrow's zigzagging sections t o get narrower as we look farther back as we see here, but you have many more where the gaps remain similar in size as shown here, and there's a strong tendency to have the last little bit flick outwards with a larger gap. Overall it does seem like you could stand to focus on this aspect of the path of your arrows more, so be sure to pay more attention to that area when tackling this exercise in the future.

Looking at your sausages with contour lines, I can see that you're making a solid effort to stick to the characteristics of simple sausages. Your contour lines are generally drawn with a fair bit of confidence, although keep an eye on how they're aligning to the central flow of your sausage - you sometimes have them set at a bit of a slant, as shown here. Note that the line we draw to represent that central flow isn't always going to be correct, but it can help us visualize what the actual path is. When it comes to the degree of your contour lines, there are some cases where you've got a nice, consistent shift towards the degree widening as we move farther away from the viewer as we see here and here, but it's not always consistent. Cases like this have most of the contour lines being the same degree, except one in the center that is randomly narrower. Overall I get the impression that you are developing your grasp of this concept, but that it may be worth reviewing the concepts discussed here. They're also discussed in the video for this exercise as well.

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).

I'm glad to see that you've stuck to this two step methodology of outlining/designing your shadow shapes before filling them in a great deal throughout your texture analyses. While you don't adhere to this nearly as consistently in your dissections, that's admittedly pretty normal as students end up hyperfixating on observation. Just remember that when you engage with textural problems as you progress through this course, to apply the two step approach to the exclusion of all others. While it's true that there are certainly going to be shadows that are cast that are so small they can't reasonably be executed using our two step methodology, in such cases it's better to actually leave them out, for the following reasons:

• A designed shape, despite not being something we can create quite as small as a one-off stroke, tapers in a more nuanced, delicate fashion, whereas a one-off stroke is more likely to end in a manner that feels more sudden. Thus, the shapes lean better into our goal of creating a gradient that transitions from black to white (and ultimately we have to pick a point for the shadows to drop off altogether anyway, so pushing a little farther with singular strokes isn't strictly necessary).

• Drawing in one-off strokes allows us to lean more into drawing directly from observation (as opposed to observing, understanding the forms that we see as they exist in 3D space, then creating shadows based on that understanding), which can be very tempting as it can allow us to create more visually pleasing things without all of the extra baggage of thinking in 3D. But of course, 3D spatial reasoning is the purpose of this course.

Anyway, as it stands you're progressing well here, and are demonstrating well developing observational skills.

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). Unfortunately it appears that aside from a few spots like this where you've actually introduced a new edge to help define the relationship between the two intersecting forms, by and large you've not actually been doing what is shown in the demonstration, and instead have merely been drawing back over existing edges. Usually when we see students doing this, it's because they're afraid of defining the wrong intersection line, and so their fear causes them to do something entirely different from what's shown in the instructions. As noted already, we're not concerned with whether or not you get it right - but we do want to see that you're thinking about how the forms relate to one another in space. This diagram might help - it illustrates that all we want is for you to place a new path in the area of overlap between the intersecting forms (as highlighted in green), and that we don't want you to place marks tracing back over existing edges (as highlighted in red in the middle section). Again - it does not have to be correct, but we want to make sure that you're not actively avoiding it.

• 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, you're generally doing okay, although:

• Limit your use of line weight to the usecases discussed here in Lesson 1, and stick to the specific restrictions laid out there.

• When drawing your cylinders, don't default to having the side edges run parallel one the page to one another. This would only occur in the specific circumstance where the intent is to have the cylinder run perpendicularly to the viewer's angle of sight, as those are the circumstances that would result in the side edges' VP being pushed to infinity (as discussed in Lesson 1). If this is not your intent - and in this exercise, where we're rotating our forms arbitrarily in space, it wouldn't be - be sure to include some minimal amount of visible convergence.

• Also remember that the end of the ellipse that is closer to the viewer/facing the viewer is always going to be the narrower end. I noticed a number of cases where you got this backwards, like here and here.

• There are a few spots, like the two cones at the top of this page where you forgot to construct them around a central minor axis line.

Lastly, your organic intersections are coming along well. The way you're drawing them shows that you're thinking about how they drape over one another under the influence of gravity, and you're generally making good headway with the cast shadows.

I do have some revisions I want you to complete - you'll find them assigned below.