Jumping right in with your arrows,

• For the most part you're doing a fairly good job of drawing your side edges with confidence, which helps avoid the kind of erratic widening/narrowing that can arise from hesitation

• When practicing this exercise in the future, I think you'll get more out of it if you make them bigger - generally maybe twice as big on average as you are drawing them now.

• In terms of foreshortening, its application to the positive space varies - sometimes you're doing it more, sometimes you're doing it less, but across the board this can be exaggerated further to achieve a greater sense of depth in the scene.

• As to the application of foreshortening to the negative space, you have a number of examples where you're taking this into consideration (for example, here), although there are other cases where you're not quite allowing those gaps between the zigzagging sections to compress as much (for example, here) so be sure to continue work that in on a conscious level.

Continuing onto the organic forms with contour lines,

• You're headed in the right direction in terms of adhering to the characteristics of simple sausages - just be sure to continue striving to keep the ends equal in size, and avoiding widening through the midsection.

• Your contour lines - both ellipses and curves - are being drawn confidently for the most part, which helps to maintain the illusion that they're wrapping around the sausage form convincingly. When it comes to your ellipses specifically, I did notice that in some orientations they tended to be less cohesive and evenly shaped - usually that suggests that you might not be rotating the page as much during the planning phase of the ghosting method, so do be sure that you are adhering to that approach for all of your freehanded marks.

• The degree of your contour lines tends to be somewhat arbitrary or at least inconsistent (sometimes it gets narrower the further back in space we move along a sausage, and other times it seems to jump around a little). Be sure to review the Lesson 1 ellipses section, which goes over the mechanics that drive the specific degree of an ellipse depending on how the circle it's meant to represent is oriented in space.

• You're sometimes forgetting to draw through the smaller ellipses at the tips of your sausages two full times, so be sure to keep that in mind.

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).

While you have definitely leaned into working with filled shapes, which is good to see, there are definitely still a lot of places where you allow yourself to use one-off strokes. 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.

Your dissections tend to lean into this more, although that section is also where you appear to invest more time into the observation of your references - so keep working on trying to strike a balance between investing that time to observe your reference, but also including an intermediary step to understand the forms that you're looking at, so you can then make your own decisions on the specific cast shadow shapes you wish to draw.

Additionally, keep in mind that the black bar on the left side of your texture analysis gradient is not just for show - it's there to remind us that we should be allowing our shadow shapes to get larger and larger the further to the left we go, so that the hard edge of the bar gets fully mixed in as discussed here.

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). You're heading in the right direction with these, though be sure to ease up on that line weight. Don't draw your intersection lines as though they're any different from the marks that make up your form constructions, and when it comes to line weight, keep in mind that in course we want to adhere to the approach explained here.

• 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 regards to this latter point, your boxes and their linework is generally pretty well done and demonstrates a good bit of care and planning (especially earlier on), although I do think that the further into the set you go, the more you focus on adding more forms but not necessarily spending the additional time that each individual form would require. In other words, you're increasing the complexity of the task, but rushing more to squeeze them in. Keep in mind that there's no specific requirement that any of these pages be completed in a single session or day, so be sure to spread it out across as many sessions as it demands to be done to the best of your current ability.

Additionally, in regards to your cylinders, keep the following in mind:

• Side edges are only ever going to be parallel on the page if your intent is to have the cylinder aligned perpendicularly to the viewer. If that is not specifically your intent (and in this exercise, we're rotating our forms arbitrarily, so it wouldn't be), then you can't arbitrarily force the vanishing point to infinity - you should be including at least some visible convergence to them.

• As discussed here, be sure to use minor axes when constructing your cylinders (and cones, but you do appear to be doing that).

• And lastly, as discussed here, avoid including any forms that are overly stretched.

Lastly, with your organic intersections, you're largely heading in the right direction in terms of working through understanding how the forms would slump and sag over one another under the influence of gravity, but I do think that you would benefit from taking more time to think about exactly how each new form you're adding is meant to settle on top of the pile. For example, if we look at this form on this page, it appears more that you drew the sausage first, then tried to figure out how to make it make sense, when the silhouette of your sausage should be factoring in things like ensuring the point the arrow points to here sitting atop the silhouette of the form beneath it.

Additionally, I do get the impression that there's some blending of line weight and cast shadows - line weight is meant to be very subtle, with cast shadows being what's generally much larger and more eye catching. But conversely, line weight exists along the silhouette of the form in question, whereas cast shadows must be projected onto other surfaces. While I do get the impression you understand the projection aspect relating to cast shadows, if you need additional information on this aside from the section on line weight I linked further up, you can refer to these notes.

All in all, you're making good headway, but there's a lot to keep in mind as you progress forwards. Be sure to factor these into your warmups, but I'll go ahead and mark this lesson as complete.