Starting with your arrows, they definitely flow very fluidly and confidently across the page and through space. One thing to remember however, is that while you're applying perspective to the positive space (the width of the ribbon which gets narrower as it moves away from the viewer), it also should be applying to the negative space (the distances between the zigzagging sections). Right now you're maintaining pretty consistent gaps between those sections, which contradicts the sense of depth we're trying to achieve.

Moving onto your organic forms with contour lines, the first thing that stands out to me is that while you do appear to be trying to stick to relatively simple sausage forms, you're not quite hitting all the characteristics listed here. You've got some sausages that get wider through their midsections, some with ends that are of different sizes, and some with ends that are either flatter or more stretched out than the even spherical we're aiming for. Make sure you're familiar with the specific characteristics listed in the instructions, and make a point of adhering to them as closely as you can.

You're largely doing a good job of drawing your contour ellipses and contour curves to be smooth and confident, and are achieving pretty solid accuracy to fit them snugly between the edges of the forms. You're also mostly doing a good job of aligning them to the central minor axis line (aside from a couple cases). The one other thing I want to point out is that you're largely using the same degree for your contour lines throughout the length of a given sausage. The degree of the contour line represents the orientation of that cross-sectional slice of the form, relative to the viewer's point of view. As we slide along the form, this will naturally change, and as a result the contour line's degree will get narrower or wider, as shown here. Keep this in mind when drawing contour lines in the future.

Your work on the texture analyses is fantastic. Without question you've done an excellent job of focusing purely on shadow shapes, thinking about how each shadow relates to the form casting it, and of controlling the density of your gradient from dense to sparse. Very, very good work.

Your dissections come along pretty well too, though I do think that this is something if a step back from your texture analyses. There's a few reasons for this. First off, I suspect that you may not be spending as much time carefully observing your references as you did for the previous exercise (frequently when an exercise demands more of the student, as this one requires you to study more individual textures, we can find ourselves putting less time into each individual one). Secondly, when you deal with textures that have individual textural forms (like scales), you often end up outlining them entirely first, then figuring out their cast shadows. This causes those scales to be closed off from one another, which gets in the way of any shift in texture density. Definitely something to keep in mind.

Your work in the form intersections is largely well done - you're constructing the forms such that they feel cohsive and consistent within the same space, and you've got a good start with the concept of the intersections themselves, which is really just an introduction to something we'll be continuing to explore throughout the rest of this course. My only concern is that some of your linework is a little sloppier than it should be. Again, I think this comes down to the sheer quantity of work being asked of you impacting the quality of the effort put into each individual part. Remember that regardless of whether you're drawing a single line, or a drawing with thousands, you're still expected to put the same amount of effort into each individual stroke.

Lastly, your organic intersections are looking good. You're doing a good job of capturing how these forms interact with one another in 3D space, rather than as a stack of flat shapes on a flat page. You've also conveyed a strong illusion of believable gravity in how they slump and sag over one another.

All in all you've got a few little weak spots, and a few places where you can definitely do much better but aren't putting in as much time as you could, but for the most part your work here is still very well done. Just keep working on how you parcel out your time and effort, and remember that you're not working against a deadline. Also, don't forget about the importance of those simple sausage forms - they'll end up being very important in a couple lessons.

So! I'll go ahead and mark this lesson as complete.