Starting with your organic arrows, you're definitely drawing these with a good deal of confidence, and for the most part it does imbue the arrows with a sense of flow and fluidity, though you do end up with a few little breaks in that flow where your line segments don't quite meet and result in little gaps. This is actually something we'll be exploring in the next lesson however, so it's not a big deal right now.

I do however want to point out that where you've added hatching, your linework is pretty haphazard - make sure you invest the time required into every single stroke you put down to ensure that it is drawn with a mind towards decent presentation. You don't want any part of the drawing to appear intentionally half-assed - even if they're simple hatching lines.

Moving onto your organic forms with contour lines, the biggest thing that stands out is that you seem to have missed the instructions on sticking to the characteristics of simple sausages, as described here. That means each sausage should be the equivalent of two equally sized spheres connected by a tube of consistent width. Sometimes students struggle with achieving this, as it's not easy to do, but you deviate far enough from these characteristics that I suspect you missed those instructions entirely.

You are doing a good job of keeping your contour lines snug within the silhouette of the form, and I can see that you're shifting the degree of your contour lines as well, which is nice to see. There is one last issue however - when drawing the contour ellipse at the "tip" of your organic forms with contour curves, there are some cases where you've drawn them on the wrong side. Basically all these contour lines - curves and ellipses - are the same thing. It's a line that runs along the surface of the form. When we use contour ellipses across the whole thing, it's like we've got x-ray vision and can see all the way around the form. When we draw contour curves, we're only drawing the portions that are visible.

When we get to the tip of the form that is pointing towards the viewer, we would feasibly be able to see all the way around the form, so we get a full ellipse once again. As shown here, you've got several cases where you've placed the ellipse on the end pointing away from the viewer. We know this end is pointing away because of the orientation of the other contour curves. You also need to make sure that the degree of your contour ellipse matches up consistently with what the contour curves are telling us about how this form is sitting in space.

Moving onto your texture analyses, I definitely think that you're moving in the right direction as far as starting to think in terms of shadow shapes, though there is definitely lots of room for growth here. That is pretty normal, of course - this exercise is an introduction to something students aren't usually experienced with already, and it is really only meant to get you to start thinking differently than you otherwise might as to how to tackle this sort of challenge.

The first thing that jumps out at me is that in your studies (the square on the left side of each row), you're taking much more care in observing your reference carefully and directly. Especially on the bottom row, I don't feel you're relying at all on your memory, and are instead carrying over information bit by bit, constantly returning to look at your reference. When it comes to the density gradient however, I feel that you're relying much less on your reference image, which results in you using information that is considerably more simplified by your memory. The marks you put down are much less informed by the actual reference, so they don't as convincingly capture the essence of what the texture is.

Also, while you are definitely willing to jump into bolder, broader black shapes, you tend to jump between using standard lines to big black shapes with no real middle ground.

All that said, I think you continue to show considerable progress with this as you move through the dissections - especially the second page. There's still plenty of room for improvement, but it's good to see that you're moving in the right direction.

Moving onto your form intersections, i think the construction of the forms themselves is fine, but your linework definitely needs work. You're leaving a lot of gaps between your lines, which ultimately makes the forms themselves feel more like a loose collection of lines rather than cohesive, solid forms. It appears to me that you're drawing the lines confidently - but more than that, you may be drawing them far too quickly without enough planning and preparation. Along with investing more time into the planning and preparation phases, one thing that may help with undershooting (which is itself often caused by the fear of overshooting) is to get used to lifting your pen when you reach that endpoint instead of trying to slow to a stop. Lifting your pen off the page is something we can do much more quickly and reliably, resulting in a more accurate stop.

Also make sure that you're drawing all of your marks - ellipses included - with the ghosting method and from your shoulder. I can see plenty of signs that you're drawing your straight lines with at least the first step of the ghosting method *putting down the start and end points), but applying the planning and preparation phases to your ellipses will help you tighten them up. Right now they're pretty loose.

Of course, I expect that you've been practicing the exercises from Lesson 1 as part of your regular warmup routine - so definitely keep doing that, as it will help you continue to improve upon your skills.

As far as the intersections themselves go, I think you've got a good start. This is another one of those things that is more of an introduction to a concept. The spatial relationships they define are at the core of Drawabox as a whole, and we will continue exploring them throughout this course.

Lastly, you've got a good start on establishing how the forms in your organic intersections interact with one another, although I think you're not quite convincingly capturing the illusion of actual gravity in the scene. This is specifically because some of the gaps you leave between forms that make them feel more like they're floating loosely amongst one another, rather than really weighing each other down. Do keep this in mind in the future.