I'll be the TA handling your Lesson 2 critique.

You're making progress towards understanding the concepts introduced in this lesson and hopefully this critique will help you in your future attempts.

• Starting off in the arrows section your lines are looking smoothly and confidently drawn. You're doing a good job maintaining a consistent width as your arrows widen while moving closer to the viewer and with more mileage you'll become more consistent. This is a good exercise to experiment with line weight but when applying it we want to make sure we do subtly to key areas like overlaps to give clarity to our forms. Here are some things to look out for when applying line weight, and here are some reminders on how to apply it subtly. Great use of foreshortening so far, by utilizing it in both the arrows themselves as well as the negative space between their curves we can create a stronger illusion of an arrow moving through 3D space as you can see demonstrated here.

• Moving into the organic forms with contours exercise your forms are getting a bit too complex. We want to create our forms with both ends being the same size and to avoid any pinching, bloating, or stretching along the form's length as discussed here. Some of your line work here shows a lack of confidence, remember that our first priority is that we want all of our linework/ellipses/contours to be drawn confidently and mileage will improve our accuracy. Speaking of contours I'd like you to try and shift the degree of your contours more. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

• In the texture exercises you're focusing largely on outlines and negative space rather than cast shadows created by forms along the texture itself. This makes it difficult to create gradients with implied information which we could then use to create focal points in more complex pieces, by doing so we can prevent our viewers from being visually overwhelmed with too much detail. You also show that you're drawing from memory at times rather than giving yourself enough time to focus on your reference. Most of our time when doing exercises like this will be spent observing our reference and looking away for a quick second to add something to our page. For more on the importance of focusing on cast shadows read here. I'd also like to quickly direct you to this image which shows that when we're working with thin line like textures if we outline and fill the shadow we will create a much more dynamic texture than simply drawing lines.

• It's quite common for people to feel like they don't fully grasp the form intersections exercise, if you feel like you may fall into this category try not to stress too much. This exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming lessons.Your forms are looking quite solid here and they believably appear to belong in the same cohesive 3D space, good work.

To quickly address your question regarding form intersections, applying line weight is a solution as long as you set clear rules and stick to them (applying it to the outer silhouette of forms as an example), another option is adding hatching to the front facing plane/faces of your forms. Redrawing is just covering up mistakes though so it doesn't really benefit the work at all, just makes things messier so try your best to avoid doing so as tough as it may be.

• While wrapping up your submission with the organic intersections exercise you do a great job demonstrating that your sense of 3D space is developing as your forms begin to wrap around each other believably. You're keeping most of your forms relatively simple and easy to work with which is a good strategy to help produce good results, addressing the issues brought up in the previous organic form section will help you here as well. I'd like you to draw through all of your forms when attempting this exercise again in the future, it will help reinforce your understanding of the 3D space you're creating. When it comes to your shadows you're pushing them enough so that they cast rather than just hugging the form that creates them which is a great start. Your shadows appear to be following a consistent light source, be sure to experiment with different angles and intensities when trying this exercise again in the future. I recommend pushing your light source to the top left or right corner of the page to start with, it's easier than working with a light directly above your form pile.

By Fude Brush I'm assuming you mean a fude brush pen and not the makeup variety, if so that's totally fine. Brush pens are a great tool for filling in large areas of ink and pretty fun once you get the hang of them. One tip is to draw the outline of your shadow shape and then fill it in with the brush pen to avoid messy edges (which is something that happens a bit in your attempts)

Overall this was a solid submission, while you may have some things to work on I have no doubt you will improve with more mileage. I'll be marking your submission as complete and move you on to the next lesson.

Keep practicing previous exercises as warm ups and good luck in lesson 3!