Jumping right in with the arrows exercise, nice work keeping the focus on ensuring the side edges are drawn confidently, so as to maintain the sense of fluidity as they move through 3D space. I can see that you've also done a pretty good job of taking into consideration how foreshortening applies to the positive space through the significant size differentials between the opposite ends of each arrow. To a varying degree I can also see the negative space being factored in as well in this regard, although this will benefit from more attention in terms of making a much clearer compression of the space between the zigzagging sections as explained here.

Also, note that you appear to have skipped the step of bridging the ribbon structure across between the side edges where the arrow bends, as I've marked out here. Be sure to take more care in applying all of the instructions.

Looking at your organic forms with contour lines,

• I can see that you're making an effort to stick to the characteristics of simple sausages, and you're making good headway in this regard, with room for continued improvement (which will come with practice as you incorporate these into your warmups). As you do so, try to keep your attention on how you're drawing the ends of the sausages, and focus on engaging your whole arm from the shoulder to avoid getting the ends to be more stretched out.

• When drawing your contour ellipses, your focus is definitely on executing them confidently, but I'm seeing signs that you may at times be falling back to drawing them from your elbow rather than your shoulder, which will reduce the range of motion with which you're able to execute these marks. While some cases don't really suffer from this, ellipses are definitely an area where you want to lean into using the whole arm. It may be beneficial to review the video for this exercise, where I use different camera angles to show the complete movement of my arm. Also, be sure to find a comfortable angle of approach when conducting the planning phase of the ghosting method - if you aren't doing this already, then it can be a common source of some of your ellipses being off for certain kinds of orientations.

• In comparison your contour curves are coming along well, achieving a confident execution while still maintaining accuracy, although there are still instances where things stiffen up, resulting in a curvature that is less even in its shape. The same points about being sure to engage your whole arm from the shoulder and rotating your page to find a comfortable angle of approach apply here as well.

• When discussing the placement of the small ellipse on the tips of our sausages in the video, we talk about on which ends they should be placed (those where the tip of the sausage is turned to face the viewer) and what kind of degree to apply. This is something you should review, as you have a tendency to place them on the wrong ends (like here, where the contour curve preceding it tells us that the end is actually turned away from the viewer), as well as sometimes with a degree that is wildly different from the preceding contour line as we see here. Also, you are frequently forgetting to draw through those smaller ellipse two full times before lifting your pen.

• Generally I can see that you are taking into consideration the orientation of those cross-sectional slices when determining which degree to use, which is good to see.

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).

I can see that you've made use of this approach in a number of places, although primarily as one tool in your belt (alongside one-off strokes where you put marks down without the same kind of multi-step planning). I can also see that you are progressing well in terms of developing your observational skills. 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.

One last thing before we move on from this section - in your texture analyses, don't forget that the intention of the solid black bar is for you to blend it seamlessly into your texture gradient, as discussed in this section.

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). So ultimately there aren't a lot of conditions for what we're looking for here, but we do want to see that students are introducing new lines to define the relationship between the forms, and unfortunately here you aren't doing that. Rather, you are simply going back over the existing edges with more line weight. When tackling this exercise in the future, try to adhere to what's written here - make sure the new lines you introduce fall within the overlap between the forms as shown in the first point, and avoid simply redrawing over edges that already exist for the entire intersection as shown in the second point.

• 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 the latter point, I'm not really seeing the usual signs of the use of the ghosting method, and your linework is slightly hesitant in the manner that implies that you are indeed not using the ghosting method to break your markmaking process into distinct stages, only executing the mark with a focus on confidence. Additionally, I'm not seeing the use of the Y method's negotiating of corners, so by and large I think you are falling short of what we're looking for with this exercise in how you're opting to approach it. Ultimately what we're looking for is time consuming, but that is simply the nature of the beast. Those time consuming approaches are also expected to be used through the entirety of the course, and so this is simply getting you used to applying them to something that may be quite demanding, time-wise, so you are ready to commit to the task.

As an additional point, note that when drawing your cylinders you should not be defaulting to your side edges being drawn as parallel on the page, as this only occurs when the orientation of the cylinder is intended to run perpendicularly to the viewer's angle of sight as discussed back in Lesson 1. If this is not explicitly your intent - and in this exercise, where we're rotating our forms freely in space, it would not be - you should always be sure to include some minimal amount of visible convergence.

Lastly, your organic intersections are coming along well in terms of how you're clearly thinking about how the forms drape over one another under the influence of gravity. That said, your cast shadows are tending towards confusing two separate concepts - cast shadows and line weight - resulting in your shadows being drawn more like extremely thick line weight (clinging to the silhouette of the form casting it) rather than being projected onto the surfaces beneath them and being allowed to follow those surfaces. This is discussed in this section from the lesson material as well as in the section beneath it, so be sure to give those a look.

Before I mark this lesson as complete, I do want to see some limited revisions relating to your form intersections. You'll find them assigned below.