Starting with your arrows,

• You're doing a good job of executing your initial side edges with confidence, which helps to lean into the fluidity with which these arrow structures move through space.

• I can also see that you're taking into consideration how the foreshortening applies to both the positive space and to the negative space, especially on your second page.

• When it comes to adding line weight to clarify specific overlaps, note that as discussed here in Lesson 1, we want to keep that very subtle, and focus it on just the area where the overlap occurs - you tend to be pretty heavy and overt with your addition of line weight, and tend to apply it to far more than just the area that needs the overlap clarified.

• I'm also noticing places where you put down extra marks, whether to correct mistakes or just out of reflex, which is something you should absolutely be avoiding throughout your work in this course. Every single mark we put down should be the result of specific intent, planning, and preparation, and once a mark has been put down you should not be attempting to correct it. Let your mistakes stand for themselves, as correcting them tends to trick the brain into thinking that the cause of the mistake has been addressed, making it no more likely that you'd take the additional time necessary in the future to avoid it.

Looking at your sausages with contour lines,

• I can see that you're attempting to stick to the characteristics of simple sausages, although the tendency to have a little hitch in the midsection suggests that you may not be engaging your whole arm from the shoulder, and instead relying on a pivot with less range of motion. When you hit the limit of that range of motion, it becomes impossible to maintain a consistent trajectory, making it a likely cause for what we see here. In the video for this exercise, I use several different camera angles to demonstrate how my arm is being driven from the shoulder, so you may want to go back and review that material to ensure that you are doing the same.

• Your contour ellipses are drawn with confidence, which helps to maintain an even, consistent shape and curvature. When it comes to alignment however, you do have a strong tendency towards having them slant a little one way or the other, instead of being aligned to the central flow of the sausage (as shown here), so you'll want to pay attention to that when practicing this exercise in the future.

• Your contour curves are largely similar in that they're drawn with confidence which helps them maintain their curvature correctly, although they're generally more aligned with that central flow.

• When it comes to the degree of your contour lines, I can see in your contour ellipses that you're being mindful of achieving a gradual shift from narrow closer to the viewer to wider farther away, although this is less present in your contour curves, suggesting that you may need to push yourself to apply this more consciously across the board.

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).

Honestly your work here is not great - it's very rushed and sloppy, and I'm not really seeing any clear attempts to apply the methodology explained in the reminders linked above, where we outline/design our shadow shapes first, before filling them in. You've also got a lot of random scribbling (contrary to what is specifically explained here). Lastly, keep in mind that the intent of the solid black bar on the left is that the gradient you create is meant to blend seamlessly into it, so that hard edge is no longer identifiable in terms of where we transition into the texture gradient itself.

In your dissections, I can definitely see a lot of cases where you're leaning hard into taking your time with observation, but when it comes to actually putting your marks down on the page, you are broadly falling quite short when it comes to how much time you're willing to allow it to take. While this section is one where we tend to be more forgiving, this is a trend that is present throughout your work, and so I'll be revisiting it towards the end of the critique.

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 are introducing new edges to define the relationships between these forms as they sit in space, which does show that you're thinking about how these forms relate to one another in space. That said, the way you're executing them, especially in cases like this does not at all align with the concepts relating to markmaking we introduced in Lesson 1. You should be drawing singular, individual marks based on specific planning - not loosely sketching your marks and then drawing back on top of them. Each mark is to be the representation of a clear decision you've made - that decision doesn't need to be correct, but it does need to be singular and clear.

• 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, there are definitely places where you've taken a lot of care to apply things like the ghosting method, and even at times I do see signs that you're applying the Y method, complete with its tedious "negotiating corners" aspect. That said, you've still got plenty of instances where you draw marks multiple times, in addition to what I've already called out in regards to your form intersections.

Additionally, note that there are cases where you appear to be drawing your cylinders somewhat backwards (as we see here) - the farther end (without the hatching) should be the wider end, and the closer end (with the hatching) should be narrower. Additionally, when drawing your cylinders, don't default to having the side edges run parallel one the page to one another (as we see on this page). This would only occur in the specific circumstance where the intent is to have the cylinder run perpendicularly to the viewer's angle of sight, as those are the circumstances that would result in the side edges' VP being pushed to infinity (as discussed in Lesson 1). If this is not your intent - and in this exercise, where we're rotating our forms arbitrarily in space, it wouldn't be - be sure to include some minimal amount of visible convergence.

Lastly, your organic intersections do show that you're thinking about how these forms drape over one another under the influence of gravity, but as with the rest of your lesson work, the tendency towards rushing and approaching your work in a sloppy manner makes this rather difficult to provide useful feedback on.

As it stands, I think you have severely underestimated just what it means to take as much time as you require to do the work to the best of your current ability, per the requirements for receiving official critique. Your work here is very clearly rushed, and so what you've provided does not accurately represent the best of which you are capable - that is, what you would have provided had you taken more time in thinking through each mark one at a time, instead of allowing yourself to put down several at a time.

Official critique, as discussed in Lesson 0, is a subsidized program. In order to allow those with more limited budgets to get access to reliable feedback, we price our credits at a rate that only covers half of what we pay our teaching assistants to provide it, taking on the rest of that cost ourselves, and then hopefully having it covered by those other students who allow some of their own credits to expire. This means we operate on very limited resources, and in order to ensure those resources are spent as efficiently as possible, we require that students pull their weight. That means avoiding rushing at all costs, and instead taking as much time as they need to construct each form, and execute each mark, even if the processes we hold them to are tedious and boring. Anywhere students can put in more effort to reduce the complexity of our TAs' tasks, we put that responsibility on the students.

This also serves to ensure that those students gain as much from the process as possible - by being as hyper-intentional with every choice they make and every action they take, they are gradually rewiring their brain and how it engages with those problems on a subconscious, automatic level. In effect, through the exercises and work we assign, students are gradually training a more reliable auto-pilot, which they can then use outside of this course. If however they rely on that same auto-pilot during the work they do here - something that tends to manifest as making marks without thinking them through, whether in correcting mistakes or going back over marks repeatedly - they effectively rely on that auto-pilot to train itself, which doesn't work out very well.

Now, I'm not going to ask you to redo this lesson in full, although I have been somewhat on the fence about that. Instead, I'm going to ask for substantial revisions, which you'll find assigned below. When working on these, give yourself as much time as you need to do them to the best of your ability. If you find yourself slipping into relying on your auto-pilot and drawing without thinking, then catch yourself and push yourself harder to avoid acting without thinking. This takes a long time, and it gets repetitive and boring - but there's no requirement that you have to get any particular quantity of work done in one sitting, so it can be spread out as required.

Additionally, for each exercise assigned in your revisions, be sure to go through the material for it beforehand - do not rely on what you remember about how it should be done, and try and generally stick to how they're shown in the demonstrations where possible (a good example of this is your second page of organic intersections being rather chaotic - you don't need to take them this far, just focus on creating a basic stable pile of sausages.