Starting with your arrows, very nice work!

• You're doing a great job of drawing those side edges confidently, which helps keep them smooth and avoid any erratic widening/narrowing that might undermine the illusion that what we're looking at exists in 3D space.

• In terms of the application of foreshortening to both the positive space (the structure of the arrows themselves) and the negative space (the gaps between the zigzagging sections), you've done a fantastic job. Your arrows don't simply flow across our field of view, but rather push through the depth of the scene towards and away from the viewer. You're also not afraid of letting the zigzagging sections overlap one another, which is a very useful tool for conveying depth that many students avoid because it feels "wrong" (but is very, very much right).

Continuing onto your organic forms with contour lines,

• I can see that you're clearly pushing in the right direction when it comes to adhering to the characteristics of simple sausages. You do run into some issues with this, but your intent is clear and that's what's most important. What tells me this is that the issues are not consistent - sometimes there's a bit of widening through the midsection, sometimes one end is a bit stubby or bigger than the other, but overall it's very much progressing well.

• Your contour ellipses are drawn confidently, which helps maintain even shapes and maintain the illusion that they're wrapping around the forms.

• For the contour curves, here you're a little more hesitant and will benefit from leaning harder into "overshooting your curves" in the manner explained in these notes. Basically, letting that curve hook back around at the ends to continue a little further along the other side, to promote that accelerating curvature.

• When it comes to the degrees of your contour lines, for the contour ellipses things are a bit erratic - sometimes you follow the pattern of things getting narrower in the midsection and wider towards the ends which is not necessarily correct, and in other cases it seems a bit more random. Overall I think you may benefit from reviewing the Lesson 1 ellipses section, which goes over both the basic behaviour of the degree shift on a straight cylinder (where the degree gets wider the further away from the viewer we are looking along the length of the cylinder), and it also talks about how the degree in general is relative to the rotation of the 3D circle in question.

• Don't forget to draw through all of your ellipses, including those smaller ones on the tips of your sausages.

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, while you do have some points where you're still willing to make marks with singular strokes (which may be cases where you might be better off deciding to leave such smaller shadows off entirely), you are overall applying the methodology explained in those reminders to great effect.

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 definitely on the right track, and I can clearly see that you're thinking about your intersections the right way. You're not always getting the correct result - but as already stated, that's entirely normal at this stage. What matters is how you're tackling the problem, and that's going well.

• 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 doing phenomenally. You're demonstrating a great deal of patience and care in applying the processes and tools we've introduced thus far. Just be sure to remember that as discussed here, we want to avoid forms that are overly stretched for the purposes of this exercise. Also, be sure to construct all of your cylinders/cones around a minor axis line (I noticed a few where they were missing).

Lastly, great work with the organic intersections. Your sausages convey a good grasp of how they slump and sag under the influence of gravity, and this is further emphasized through the use of your cast shadows. Just remember that unless there's a break in the form casting the shadow, or the surfaces receiving it, there won't be a break in the shadow being cast. This can result in shadows that are much more aggressive in covering surfaces than you might feel comfortable with - but that doesn't mean it's incorrect. So for example, the top sausage here would still be casting a shadow on all the structures beneath it, not just those closest to it.

Anyway! All in all, you're doing well - there are some points to continue improving on, but that's expected. You'll have ample opportunity to work on those in your warmups going forward. I'll go ahead and mark this lesson as complete.