Jumping right in with your arrows, when it comes to how you've approached your linework here, there's a lot here that suggests you may have forgotten about some of the basic principles of markmaking from Lesson 1 - although fortunately that seems to be limited to this exercise specifically, and doesn't spill out into the others. The main issues on this front are:

• You're going back over your lines a ton. It seems this may be more in the pursuit of building up line weight, which as discussed here in Lesson 1 we approach very differently, with a focus on keeping things subtle, and only adding line weight to the specific localized areas where overlaps need to be clarified.

• Where the demonstrations have the hatching being applied in a more systematic fashion, stretching across the ribbon from edge to edge, you appear to have applied it in a much more haphazard fashion, setting it at an angle and allowing it to overlap. This also results in the hatching lines having to end at arbitrary points which can look rather sloppy, (whereas drawing them across the width span of the ribbon from edge to edge gives us a clear start/end location). Please do your best to follow the demonstrations as closely as you are able.

Setting those issues aside and focusing only on the elements that are specific to this exercise, I can see that you're taking into consideration how the foreshortening applies to the positive space (the structure of the arrows themselves), although the way it impacts the negative space (the gaps between the zigzagging sections, as explained here), would benefit from more attention. Fortunately we've recently updated the lesson material for the first section of this lesson, and we do talk a bit more about this in the video and the written material, so you may find that watching the new video for it may help clarify things further.

Looking at your sausage forms with contour lines,

• Nice work sticking to the characteristics of simple sausages. While there are small discrepancies in terms of how closely you're matching them, that's entirely normal. As long as you continue to intentionally aim to achieve those characteristics, how consistently you nail them will improve with practice.

• You're doing a good job of drawing your contour ellipses confidently, which is helping you to maintain even shapes. Along with practice, continuing to consciously apply the ghosting method's planning and preparation phases when executing your ellipses will also help improve your accuracy and get them to fit more snugly within the silhouette of the form.

• For your contour curves, we do see a little bit of the more haphazard approach we saw in your arrows, although to a lesser degree. Regardless, it's clear that you're allowing yourself to slip out of following the principles of markmaking and the use of the ghosting method, and are relying more on instinct to determine how you go about making your marks. I know it's time consuming, but it is incredibly important that you approach every choice you make while working on the homework for this course as intentionally as possible. The goal here is to train your auto-pilot, so that when you draw outside of the course you can rely on it to take care of the "how" so you can focus on the "what" of what it is you're drawing - the creative decisions of design, composition, narrative, etc. Training your auto-pilot by relying on your auto-pilot however does not achieve this goal, and generally just results in more of a mess.

• Additionally, be sure to engage your whole arm from the shoulder, and rotate your page to find a comfortable angle of approach - sometimes I notice subtle things that suggest you may not be executing the marks from as comfortable an angle of approach as you could, and that you may not be giving yourself as much of your arm's possible range of motion. In the new video material for this exercise's instructions, I do provide different camera angles of how my arm is moving, so that may be beneficial.

• Don't forget to draw through all of your ellipses two full times before lifting your pen - even the small ones at 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).

Your work here demonstrates a great deal of patience and care both in terms of observing your references, and in applying what you see to the page. I'm glad to see that you've leaned into the use of the methodology explained in those reminders, although it is definitely more as one tool in your belt, amongst others. When tackling texture in this course, try to employ that process of outlining shadow shapes, then filling them in, for all of your marks and avoid the one-off strokes that are made in a single step. 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, just keep that in mind - as a whole you're doing a great job with your texture work.

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). As far as these intersections are concerned, you're doing a good job, and are thinking through the relationships between the forms as we'd hope to see. Just as a reminder though, don't arbitrarily draw those intersection lines with more weight/pressure than the others - stick to the approach to line weight I linked when providing feedback on your arrows.

• 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 a pretty good job. You're taking care to apply the methodologies and techniques with patience and care. This is especially notable because while you weren't as fastidious in doing this throughout the entire lesson (as previously discussed), it is actually more common to see students falter here because of how intimidating the exercise as a whole tends to be. The complexity of the task can make it easier for students to shift their focus away from taking all the time necessary for each individual step - so it definitely is a good sign that despite this, you still worked through it step by step, giving each aspect as much time as it required.

One small thing to keep in mind - don't draw your cylinders with side edges that are parallel on the page here. This only occurs when our intent is to orient them such that they run perpendicularly to the viewer's angle of sight, since those are the conditions that would push the side edges' VP to infinity. Since in this exercise we're rotating our forms arbitrarily in space, that specific orientation would not be your intent, and so it would be necessary to always include some minimal amount of visible convergence.

Lastly, your organic intersections demonstrate a fair bit of consideration towards how the forms slump and sag over one another under the influence of gravity, and your cast shadows are doing a good job of emphasizing those spatial relationships.

As a whole, I am confident that you can handle this stuff well, but there definitely were key pockets that aren't applying the time and methodology this course demands. While I am entirely confident that this is a matter of how you choose to engage with the material, it would be irresponsible of me not to confirm that you are able to make those choices going forward, so I'll be assigning some limited revisions. You'll find them listed below.