Jumping right in with the arrows,

• You're doing a great job of drawing your edges in a manner that is fluid and smooth, but largely maintains consistency between the two side edges (so as to avoid any random pinching or widening that might undermine the 3D nature of the structure).

• I can see that you're definitely playing with foreshortening as applied to the positive space of your arrows (that is, their structure), but I did see some cases where you may have lost the thread of that point a little in favour of the fluidity. So for example, this arrow is very clearly coming towards us (in terms of the arrow head being arranged closer to the viewer) but the back of the arrow is the portion that is largest, creating a contradiction between different parts of what's conveyed to the viewer.

• While I think this area can use a bit more attention, I am seeing efforts to consider how foreshortening applies to the negative space (that is, the gaps between the zigzagging sections) as well, as we can see here where the farther the arrow goes, the smaller those gaps are drawn physically on the page. This isn't applied as consistently however (so for example here we get a very large gap towards the end), and there are cases similarly to the reversal in the previous point where, as seen with this arrow the gaps seem to steadily get larger the further back we look, rather than just suddenly getting big towards the end. Broadly speaking the application of foreshortening to the negative space of our arrows is a pretty common issue and one that I think is fairly normal - so just something to keep working at - but one thing to remember is that it can help you try and think of the arrow you're constructing as being oriented such that it flows more through the depth of the scene. So for example, this one here is mostly running across our field of view from bottom to top, without much depth involved. Conversely, something like this leans more heavily into moving through the depth of the scene, and doesn't shy away from letting those zigzagging sections overlap one another, which really helps to sell that sense of depth. So be sure to focus more on arrangements like this when practicing this exercise in the future.

Continuing onto the organic forms with contour lines,

• You're doing pretty well at sticking to the characteristics of simple sausages. There is certainly room for improvement in getting your two ends to be more consistently sized, and avoiding a bit of widening through the midsection, but you already improve considerably on those fronts in the second page as compared to the first, so you're clearly headed in the right direction.

• Your contour ellipses are drawn very confidently, so they're coming out very evenly shaped and smooth.

• Your contour curves are similarly confident, which is helping you to largely achieve that sense that they're wrapping around a rounded form.

• When it comes to the little contour ellipses we place at the ends of our sausages, I am noticing some cases in your page of contour curves where they're placed on the wrong side. Those ellipses are essentially the same as the contour curves, except that when the contour curve is placed on the tip of a sausage where it's facing more towards the viewer, we're able to see the full ellipse. This does mean however that because we're telling the viewer "this end faces you", that does have to remain consistent with the contour curve that precede it. The two examples pictured here are on the wrong end, whereas this one here is positioned correctly, maintaining a consistent impression of how the sausage is oriented in space.

• Additionally, remember that we still want to draw through those ellipses two full times before lifting our pen, as is required for all the ellipses we freehand throughout this course.

• I can see a fair bit of consideration to which degree to use for different contour lines at various positions along the sausage, so that's coming along 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).

Overall I'm pleased that you aren't shying away from those filled black shapes, but there are two things I want you to prioritize with texture going forward, and they largely go hand in hand:

• Don't just focus on transferring details from your reference to your drawing. As noted in those reminders, we want to understand the forms we see in our reference, then use that understanding to design cast shadow shapes that correspond to each form. It's very tempting to just draw what you see, but that isn't the totality of what we're looking to do here.

• Adhere to the process of outlining a shape, then filling it in - don't let yourself simply put one-off marks down. So for example, for your "Old Wood" texture has some filled shapes, but it also has one-off lines - those shouldn't be there. Every mark should follow the process of thinking about how you want to design a whole shape, then filling it in. Doing so will help push against the temptation to simply draw what you see, but it does require self-policing.

All that said, you are demonstrating some well developing observational skills - just need to work on how exactly you translate what you see to what you end up drawing on the page.

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). In this regard you're doing great, but I have just one thing I want to impress upon you - the demonstration shows us only drawing the visible portion of the intersection (except when the intersection is an ellipse, in which case drawing the full ellipse helps us maintain the correct curvature), so be sure to approach it in that way. Here you're "drawing through" most of your intersections. While drawing through our forms is greatly beneficial (it helps us better understand how our forms sit in space) while adding minimal overall complexity to the task, drawing through intersections has the opposite outcome - it is a little beneficial in helping us better understand those spatial relationships, but in turn it makes things way more complicated in ways that can be distracting and actually detract from the value of the exercise.

• 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.

In this latter aspect, you're doing very well. I can see clear thought and planning behind every mark, and every box construction (in terms of "resolving" your corners), so you're checking every box we hope to see with this.

Lastly, your organic intersections are similarly coming along well. You're demonstrating a good grasp of how these forms relate to one another in space, and you're leveraging your cast shadows to great effect to further emphasize these relationships. Just remember - the little contour ellipses go on the tips that face the viewer, so be sure to avoid placing them on the wrong end as occurred on the far right of this one.

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