Jumping right in with your arrows, nice work keeping the focus on executing those side edges with a great deal of confidence, which helps to lean into the fluid way in which the arrows move through space. When it comes to the application of foreshortening to the positive space of your arrows, I think you're moving in the right direction although you could stand to greatly emphasize the size differential between the opposite ends of each arrow, ensuring that there is a substantial increase in the scale as the arrow comes towards the viewer. As to the application of foreshortening to the negative space, I can see a number of cases where you've got the gaps compressing visibly as we look further back in space, which is good to see, although I think that you are somewhat hesitant to actually allow those sections to overlap one another. While it may feel awkward to do so, it is very much the logical conclusion of those gaps compressing as far as they can go - so don't be afraid to lean into it, as it'll help you convey a much stronger sense of depth in the scene.

Looking at your sausages with contour lines,

• You've made a good effort to stick to the characteristics of simple sausages, and the only spots where you ran into any noticeable discrepancies in this regard were cases where you were hitting the edge of the page, or trying to work within a more limited space, so I'm not particularly worried about that.

• When it comes to drawing your contour lines, your ellipses are pretty confidently drawn (there's some cases of hesitation that throw off the evenness of the ellipse's shape as we see here so be sure to keep the confidence of the stroke as your main priority before accuracy but overall you're doing well). Your contour curves are similar, although they have a greater tendency to be slightly hesitant. Just be sure to always put confidence before accuracy, and apply the ghosting method in its entirety to ensure that you're always rotating the page to find a comfortable angle of approach, and that you're able to focus only on the confidence of the execution when you get to that stage.

• When it comes to the degree of your contour lines, I am seeing a fair number of signs that you're thinking about the orientation of each cross-sectional slice when deciding which degree to use when drawing it, although it varies. For example, here you've got the straighter portion running across our field of view along the upper right with narrower degrees, and as the sausage turns away from us the degree widens, which is correct. Conversely, in cases like this the degree seems to arbitrarily flatten out in the middle, then opens up once again (without inverting to suggest that the path of the sausage simply kept turning), despite the shape of the sausage itself suggesting that it's not really bending all that much to begin with. It has been pretty common to see students running into issues with the degree of their contour lines, as previously we relied on Lesson 1 talking about this in the ellipses section, but in our update of the first section of Lesson 2 in early October we expanded upon this by covering it in more depth both in the video for the exercise and here in the lesson material, so be sure to give those a look.

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 can see that you've made a concerted effort, especially in your texture analyses, to apply this methodology and ensure that most of your textural marks were made using this approach of outlining/designing your shadow shapes, then filling them in. That said, especially in your dissections, this was used as one tool in your belt alongside others (like less planned one-off strokes where you make the entirety of the mark in one go) as opposed to the exclusion of all others. That's pretty common for students, but going forward it is best that you try to adhere to this methodology more strictly when tackling textural marks in this course.

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.

Another point worth noting is that your texture analyses did end up being a little sparse, and as a result, you didn't really have much to work with in terms of creating a smoother gradient as you moved from right to left, and the purpose of the solid black bar (which as explained here is meant to have its hard edge blend right into the texture, just as the texture blends into the white bar we leave on the far right) wasn't really met. Keep in mind that you are in full control of the scale at which you're looking at the texture, and in how you pack those textural forms in. Your reference image is just a source of information, to help provide you with an understanding of how the textural forms sit upon the surface, how they're arranged, and so forth - but it is up to you to use them to create the kind of smooth textural gradient we're after.

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). Ultimately the way in which you're drawing your intersections does clearly show that you're thinking about the relationships between these forms as they sit in 3D space, which is exactly what I hope to see at this stage.

• 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, your work is a little mixed. For the most part, I think you're headed in the right direction, as we can see best represented by this page, but I am noticing a strong tendency to either lean into correcting mistakes as they come up, or being overly aggressive with line weight (or more likely a combination of the two) as we can see exemplified here:

• In terms of applying line weight, your approach should be limited to the specific approach and use explained here in Lesson 1, which focuses on being very subtle and only being used in specific, localized areas to clarify overlaps between different lines. It is not something you want to jump out at the viewer, but rather to be more of a whisper to their subconscious to help them understand what they're looking at.

• In regards to correcting mistakes, not only does this result in areas of far more overt line weight than would fall in line with the previous point, it also tends to trick the brain into feeling that the cause for the mistake has been addressed, making it less likely that we'll take the additional time and consideration necessary to adjust our approach in the future. This greatly diminishes the educational value of those mistakes.

Additionally, a couple things to keep in mind:

• Avoid stretched forms as discussed here. Many of your cylinders are very long here, which seems to be disregarding the point raised in the instructions to keep your forms more equilateral - or in other words, more similar in size in all three dimensions.

• When drawing your cylinders, avoid defaulting to drawing their side edges as being parallel on the page, as this would only occur if the intent was to draw the cylinders to be oriented perpendicularly to the viewer's angle of sight (since those are the conditions that would push the VP of those side edges to infinity). If that is not your intent - and in this exercise where we're rotating our forms arbitrarily, it would not be - then you should be aiming to include some minimal amount of visible convergence.

Lastly, your organic intersections are heading in the right direction, and I can see that you are clearly taking into consideration how they drape over one another under the influence of gravity. I can also see that you're making some effort to consider how to use cast shadows to emphasize these spatial relationships. In regards to that, just be sure not to conflate the behaviour of cast shadows with the behaviour of line weight - always think about where your light source is shining from, and the direction in which those shadows would be cast as a result. Generally for this exercise we want the light to be shining down from high up, and so you wouldn't see shadows like this one creeping up along the side and along the top of the form casting it. On this page you have a stronger tendency to have the shadow shapes cling along the silhouette of the forms as well, instead of allowing them to be cast upon the surfaces beneath them (we can see this quite prominently here on the far right where the shadow merely runs along the edge of the sausage. You can read more about this issue here in the lesson material.

All in all you do have a number of points to keep in mind, but you are headed in the right direction, so I will be marking this lesson as complete. Be sure to keep what I've laid out here in mind as you continue working on these exercises as part of your regular warmup routine.