Starting with your arrows, these generally flow quite nicely through space, and explore a good sense of how to convey the depth of the scene by applying perspective to both the positive space (the width of the arrows' ribbons) and the negative space (the spacing between the zigzagging sections). The only thing I did notice however was that your linework is definitely still a little stiff and hesitant, so keep working on drawing with more confidence, not allowing the fear of making a mistake hold you back. This will ensure your marks come out more smoothly. Even if it also results in less control, that will improve with practice.

For your organic forms with contour lines, you're moving in the right direction, with a couple things to keep in mind:

• First and foremost, watch your sausage forms. You haven't quite adhered to the characteristics outlined here in the instructions. We need those forms to be two equally sized spheres connected by a tube of consistent width. No pinching through the midsection, no variation in the size of the ends, and no stretching of those ends that cause them to appear pointy or irregular.

• I also noticed that you maintained a consistent degree through most of the ellipses along the length of a given form. The degree should actually be shifting naturally as we look along the length of the form, as the degree represents the orientation of that circle-in-3D-space, relative to the viewer. You can replicate this effect by taking a circular, flat object (like a CD, a coin, etc) and holding it directly in front of your face, between your eyes, maybe a foot or so away. You'll only see its edge, so it'll be like an ellipse with a degree of 0. Then as you move it laterally from left to right, directly across your field of view, you'll notice that the degree of this ellipse starts to widen. The closer it is to dead-center in your field of view, the narrower it will be, and the further out it gets, the wider it will be. This shows us how even if the absolute orientation of the circle in 3D space doesn't change (we weren't rotating it), the orientation relative to the viewer does change, therefore the degree also widens or narrows accordingly. This concept is explained further in these notes.

In your texture analyses, you've got a variety of results that shows a good deal of interesting experimentation. In your approach to tackling the stucco, you definitely attempted to apply the principles of thinking of the marks you draw as being cast shadows rather than outlines, which is good to see. This led you to have more gaps in the textural forms as we move further out to the right. This is definitely a good start, though as you continue to practice this, you'll gradually come to understand how the shadows directly relate to the forms along the surface of our object. Right now you're getting there, but you're still somewhat thinking in terms of taking the outline as a starting point and then changing how thick it is in various places, and allowing it to disappear in others.

As you move through the other textures, you seem to give up on allowing the outlines to get lost-and-found, instead enclosing everything entirely. This is a step in the wrong direction, but it is still important to experiment.

I'm not sure if you did this work before the start of the month, but on February 1st I did release a fully rewritten texture section for this lesson, along with a new video demo for this specific exercise. I recommend you go through and read them and watch the videos (which also have been rerecorded, most of them made to be much shorter than before). Most specifically, pay attention to the following:

• Implicit vs. Explicit

• Detail Density

• The new Texture Analysis demo

The same principles largely apply to your dissections as well, though I do feel that in this exercise you also ended up spending less time actually studying your reference images, relying more on your ability to remember what you'd seen. This, as explained here, results in the natural tendency to oversimplify what we end up drawing, as our brain has tossed out much of the more nuanced, specific information. This is what causes us to draw in a more cartoony fashion.

Now, all of this is totally fine for the time being. The texture section of this lesson is intended to introduce you to the concept, and I don't expect any particular level of success. Just make sure you reread the sections I've linked above, and keep them in mind as you move forward.

Moving onto your form intersections, the first thing that jumps out at me here is that you don't appear to be applying the ghosting method. Instead, I can see clear signs that you invest all of your time into the execution phase, drawing more slowly and more hesitantly to keep your marks accurate, but throwing their confidence and flow under the bus. This results in lines that are notably wobblier, and forms that don't feel as solid as they could.

The ghosting method should be applied to each and every mark you put down, and it is all about separating the process of drawing into several concrete stages. First we plan - we identify exactly what we want a mark to do for us, and what we need from it. Where it needs to start, where it needs to end, and exactly why we're drawing it in the first place. Then we prepare - we go through the motion of drawing that line, achieving a degree of confidence with that stroke and ensuring our muscles are aware of what is needed. We record that motion into our muscle memory.

Finally, we execute the mark with confidence, focusing only on achieving a consistent trajectory. The second our pen touches the page, any opportunity to avoid a mistake has passed - all we can do is push through with confidence, and our only job at this point is to keep that mark smooth and hesitation-free.

Another point I wanted to mention is that while it's fine to apply hatching lines to some of your flat faces to help clarify which side of the form is facing the viewer, this becomes a bit of a problem when doing so over rounded surfaces. Reason being, the lines you're drawing are now contour lines - they run along the surface of that form, and in doing so they convey how that surface deforms through space. The hatching you drew along the cylinders did not actually convey much curvature at all - they were all quite shallow, and as a result, the cylinders appeared to be quite flat. Instead, I would leave the hatching lines off the cylinders altogether. In situations where you actually do need that for whatever reason, I'd draw straight lines length-wise along the surface of the cylinder, from one end to the other, as this won't require any curving and won't risk communicating matters of 3D space incorrectly.

The last point I want to make about this exercise is that while you did an okay job of drawing the forms within the same space in a manner that felt cohesive, you didn't actually make any attempt at drawing the intersection lines between the forms. While this second element is just intended to be an introduction, and don't expect students to be able to do them correctly just yet, it is something I want them to try. These intersection lines that are missing are the ones that actually define the relationship between two forms in space. The lines sit along the surface of both forms simultaneously, and establish exactly where they cut into one another. Even though it is difficult and I don't expect you to be able to do it correctly (being that this is a concept that is at the very core of Drawabox and is something we continue to develop and learn up until the very last lesson), it is necessary that you make an attempt now so the awareness of the challenge is present in your mind.

Lastly, your organic intersections have a few minor issues but by and large you've approached the exercise well. Especially in the second page, you've done a good job of wrapping forms around one another, conveying how they interact in 3D space rather than simply being pasted on top of one another on the flat page.

The issues I noticed are as follows:

• As mentioned in your organic forms with contour lines, make sure you're sticking to simple sausage forms. You mostly did, but there was one that definitely got a little weird.

• Your contour curves are drawn pretty stiffly, with some visible wobbling. As mentioned before, you need to work on your confident execution of linework.

• Your shadows appear to be more like just a really thick outline - they're clinging to the silhouette of the form that casts them, instead of being projected onto the surface below. Think about it as though the form is throwing its shadow away, and that shadow lands on something below it. That surface may be close by, or it may be farther away.

You've largely done a decent job, but there are a few revisions I'm going to want you to do before we mark this lesson as complete.