Starting with your arrows, these are flowing really well and capturing a strong sense of fluidity, though I do want you to think a little more about how foreshortening applies to not only the width of the ribbon as it moves away from the viewer, but also to the gaps between those zigzagging sections. You tend to keep the size of the gaps pretty consistent in many cases, where instead they need to be compressing due to foreshortening and perspective. This will ultimately help you capture a greater sense of depth in the scene.

Moving onto your organic forms with contour lines, these are for the most part extremely well done (even though you found them super difficult). You're doing a great job of drawing the contour lines such that they flow smoothly, maintaining fairly even shapes and wrapping well around the surface of the form. You also largely do a good job of following the characteristics of 'simple sausages' explained in the lesson, although there is a slight tendency to have them get just a little wider through their midsection than they should. This also makes the ends for some of them somewhat less spherical, stretching them out a little further. You're very, very close, and are largely doing a good job, but just keep this in mind.

You've knocked the texture analysis exercise completely out of the park. You're doing an excellent job of focusing entirely on clearly defined, well observed shadow shapes, each implying the presence of textural forms without locking yourself into a single level of density. You're leveraging those shadow shapes exceptionally well, and covering a full range from dense to sparse. I have no complaints whatsoever - it's remarkably well done and you should be proud. This carries over fairly well into the dissections, although there are definitely some cases where I'd say your textures are a little more simplified - especially the braided hair, and the other textures on that same sausage. The other page however goes back to being very well observed, and you make excellent use of cast shadows once again. Watch out for the alligator bag though - you're falling into outlining those scales too much. It's a common mistake, and you clearly know how to do this correctly, but it's definitely the kind of area, where you've got textural forms with really obvious, distinct parts, that cause students to backslide into outlining their forms.

With your form intersections, you're doing a great job of constructing these forms such that they feel cohesive and consistent within the same space. You also have a good start on the intersections, with a good deal of room to improve especially when it comes to grasping how curving surfaces intersect with one another, and with flat surfaces. This is totally normal and entirely expected - this exercise just introduces students to thinking about how these forms can relate to one another in space, and how those relationships can be defined. I by no means expect students to be able to whip off constructions with a full grasp of how any of this works. All I look for are the attempts, and you've done a great job at that. This is something we'll continue to explore through the entire length of this course, as it is a core concept that will come up frequently.

Lastly, your organic intersections are looking great. You've established how these forms interact clearly in 3D space, not just as flat shapes stacked on a page, and have created a strong, believable illusion of gravity in how they sag over one another. These groupings of forms are entirely believable, and really sell the idea that we're looking into a three dimensional world.

Your work throughout this lesson has been exceptionally well done. I'm going to go ahead and mark the lesson as complete, so keep up the great work.