Jumping right in with your arrows, very nice work on all fronts:

• You've kept the focus on executing your side edges with confidence, which puts the focus on the fluidity of the structures as they move through space.

• Through the use of a nicely emphasized size differential between the two ends of each arrow, you've captured the application of foreshortening to the positive space of your arrows well.

• And you've also taken into consideration how the foreshortening applies to the negative space, allowing for substantial compression to the gaps between the zigzagging sections as we look further back along each arrow.

Looking at your sausage forms with contour lines,

• Nice work generally sticking quite closely to the characteristics of simple sausages. Just keep an eye on cases like this and this where you end up going for more of a cigar shape.

• You're definitely drawing your contour lines - both ellipses and curves - with a lot of confidence, which helps maintain the appropriate shape and curvature such that they wrap around the rounded surface of the sausages convincingly. Keep working on your accuracy (that'll come with practice - what matters most is that you're nailing the confident execution), and also don't forget to draw through your ellipses two full times before lifting your pen, as is required for all of the ellipses we freehand throughout this course, including those that are very small.

• I did notice a couple spots on the contour curves page where you forgot to include the central minor axis line. Take a bit more care in ensuring that you're applying all of the steps consistently.

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).

That said, it does seem that your submission is missing a few pages - one page of dissections and one page of texture analyses, so you will need to provide that before I can mark this lesson as complete. That said, I'm seeing a mixture of both uses of the methodology linked above (outlining/designing your shadow shapes before filling them in) and approaching your textural marks in a less controlled manner (drawing them in one-off strokes, essentially painting them on as you go), which is pretty normal for students at this stage. That said, do make an effort to, when using texture in this course, stick to the two-step methodology. 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.

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 it stands the manner in which you're drawing your intersections clearly shows that you're thinking about how these forms relate to one another in 3D space, which is exactly what we 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, you're generally doing very well, although I am noticing some spots where you go back over lines (sometimes to correct mistakes as we see here - you should be letting your mistakes stand for themselves, as correcting them can trick the brain into feeling the issue was resolved, and not taking it into consideration the next time), and in other spots it's line weight (which is fair) but being applied perhaps a bit too liberally, or perhaps not with enough time to really plan out the marks using the ghosting method as well as you could. It wouldn't hurt to review the material here from Lesson 1 on how line weight is applied in this course - keep in mind that they should be applied to a fairly limited, localized area, and kept quite subtle. You're applying some of that, some of the time, but I wanted to call it out both to ensure you take a little more time in its application, and that you approach it a little more conservatively.

The other quick point I wanted to call out is that when drawing your cylinders, you should not be defaulting to having their side edges run parallel on the page, as this would only occur when they are oriented such that those side edges run perpendicular to the viewer's angle of sight. Those are the conditions that would push their VP to infinity, as discussed in Lesson 1. If that is not your specific intent - and in this exercise since we're rotating our forms arbitrarily in space, it would not be - it's important that you always include some minimal amount of visible convergence to those edges.

And lastly, your organic intersections are coming along well - they clearly show that you're thinking about how the forms drape over one another under the influence of gravity. Your cast shadows are coming along in emphasizing these relationships as well, although I am noticing some inconsistencies in how they're applied (I've outlined a few missing cast shadows here), and I would strongly recommend picking up a brush pen or another thicker pen to fill them in more consistently.

All in all, your work is coming along well - though I will need to see those two missing texture pages before I can mark this lesson as complete.