Starting with your arrows, these are certainly flowing quite fluidly through space, and as you progress through them you definitely demonstrate an improving capacity to convey the depth in the scene, applying foreshortening consistently to both the width of the ribbon itself and the size of the gaps between the zigzagging sections, as they get farther away from the viewer

Moving onto your organic forms with contour lines, on your first page you're doing a pretty good job of sticking to simple sausage forms as described in the instructions, although as you progress through that page I can see some of the characteristics listed starting to slip. It's never by all that much, but there are a few further down where the midsection either gets wider, or one end is smaller than the other. This is not abnormal, as people do indeed make mistakes - but moving onto the second page, you appear to stop adhering to these characteristics in more noticeable ways. Make sure you stick to the points listed here.

The contour ellipses are largely drawn quite well - you keep them evenly shaped, draw them with confidence, and while some of them are a little looser than they should be, you're generally doing pretty well to keep them snug between the edges of the sausage form. One issue I'm noticing however, mostly again in the contour curves but also somewhat in your contour ellipses, is that the degree of these contour lines tend to be more or less consistent as you slide along the length of the form, which is incorrect. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

Looking at your texture analyses, you're making big strides in the right direction, and have clearly leaned hard into controlling the density of your textures as you slide from left to right. You're certainly learning more and more to work with shadow shapes rather than outlines, although I do believe that you still fall into relying fairly heavily on having the outlines in place for most of your texture before thinking about how those cast shadow shapes ought to behave. While this can work through the middle part and the far left for your texture, it does result in you dealing with the far right - where the shadows get more blasted out - in a more arbitrary fashion.

Instead, thinking always about just the shadow shapes and leaving outlines themselves out entirely can help you to focus on the physics behind those shadow shapes. As explained in this section, the shadows that remain around the longest as we get closer to that light source are those caught where mutliple forms meet together. The shadows that are more out in the open, however, are going to disappear the quickest. This is of course easier to understand when you dive right into shadow shapes first and foremost, rather than laying down a scaffolding of outlines.

To push this a little further, one thing you can do is purposely only draw marks as described here. That is, always drawing a circuit, enclosed shape for every mark you put down in your textures, then fill that shape in. That is, instead of allowing yourself to draw marks that have different start and end points.

Moving onto your dissections, you continue making a good deal of progress in terms of experimenting with a wide variety of different textures, and really flexing your observational skills and attention to detail. Your fish scale texture in particular really starts to abandon the dependence on outlines, although I can see you struggling somewhat with that with others (though they all came out quite well regardless). It often is challenging to wrap one's head fully around how we're to approach conveying these textural forms, specifically because by focusing on shadow shapes, we're training ourselves to draw on the areas around the forms we wish to imply, though we're more used to drawing on them directly.

Your form intersections are largely veryu well done. You've constructed the forms such that they feel cohesive and consistent within the same space, and you're off to a great start with the intersections themselves. That's not to say there aren't mistakes - you particularly struggle with figuring out intersections that involve curved surfaces, but this is totally normal. All we're doing here is introducing students to having to think about how forms relate to one another in 3D space, and how to define those relationships in a concrete manner. This is something we'll continue exploring through the entirety of this course.

Lastly, your organic intersections are looking fantastic. You're doing a great job of defining precisely how these forms interact as 3D entities, rather than as flat shapes stacked on a flat page. You're also capturing a strong illusion of gravity in how they slump and sag over one another. I do however feel that the first page was superior to the second simply because you largely stuck with forms that were mostly the same size, rather than varying between really large and really small ones.

So! All in all, your work here is very well done. I'll go ahead and mark this lesson as complete.