Starting with your arrows, these have a decent sense of flow and motion to them, but one thing that stands out is that you're definitely drawing them somewhat hesitantly. That is to say, you're drawing them more slowly, too focused on accuracy, rather than drawing confidently from your shoulder. Remember that Drawabox is very much about drawing lines that are confident above all else - that we commit to the strokes we draw before drawing them, and once our pen touches the page, we maintain consistent trajectories even if that means going off our intended path.

I talk about this a little more in this response to another student relating specifically to the ghosting method, which should be applied to every mark we draw.

Another more minor point in regards to your arrows is that while you're applying perspective to the width of your ribbon, making it narrower as it moves away from the viewer, perspective also applies to the distances between your zigzagging sections. Perspective applies consistently to all space, and makes that space compress as it moves away from the viewer. As such, the gaps between those zigzags should be getting narrower as well, at the same rate. This will help you demonstrate more depth in the scene.

Moving onto your organic forms with contour lines, to start you're doing a good job of sticking to simple sausage forms as covered in the instructions. You're keeping your ends pretty consistent in size, keeping those ends spherical, and avoiding pinching/swelling through the midsection. Very good work on that.

You're also doing a good job of keeping your contour ellipses snug between the silhouette of your form, and are shifting the degree/width of your ellipses as you slide along the form. There's just one issue, and it's one I already addressed - you're drawing these quite hesitantly, likely because you're focusing more on accuracy than on maintaining a smooth, confident ellipse. By drawing more slowly, we end up with an uneven ellipse that doesn't feel quite as solid as it should. This is, above all else, our top priority - so as always make sure you're applying the ghosting method to your ellipses (as you would to all your marks), and make sure you're executing them confidently.

Looking at the contour curves, the same things apply - your contour curves are a little stiff, but your sausages are well done. There's just one other issue. When you draw the little contour ellipse at the tip of your sausage forms, this tells us that the end of that sausage is oriented towards the viewer - that it's turned towards us. In some cases, this contradicts other information you've conveyed with your contour lines.

For example, the top left one shows that either end is turning away from the viewer - so we wouldn't be able to see either of these tips. On the bottom right, your contour ellipses suggest that the far left side is slightly turned towards the viewer, and the far right side is turned away (so we'd only see a contour ellipse on the far left).

Moving onto your texture analyses, these are mostly really well done. You show a lot of improvement and growth both in terms of your attention to detail in your textures, and your willingness to focus on the use of shadow shapes rather than outlining textural forms. It's clear that as you work through this exercise that you're steadily getting more comfortable with these things, and that you're showing solid improvement over the whole exercise.

This continues pretty well into your dissections, although I am seeing certain situations where you fall back to at least starting with outlines, even if you move onto thinking through the shadow shapes afterwards. Specifically this happens in textures where you've got very specific textural forms - kernels of corn, scales, etc. You'll start out by outlining them completely, then adding shadows. Instead, you should jump straight into the shadow shapes. Working with outlines at all closes things off, and makes it difficult for you to transition from areas of dense texture to areas where it's more sparse, as shown here.

Moving onto your form intersections, the form constructions themselves are quite well done. The forms feel solid and consistent within the same space, though your linework - though definitely a lot more confident than before - does have places where you've attempted to correct mistakes. Remember that once you make a mistake, just keep going - attempting to fix it results in more ink being placed on the page, drawing more attention to your blunder. If you leave it alone, it's more than likely going to be harder to notice.

When it comes to the intersections themselves, you've got a good start. I'm very pleased to see that you've made several attempts to try and figure them out. It's entirely expected for it to be challenging - this exercise just introduces a concept that is going to be a big deal throughout the entirety of this course. I don't expect students to have any prior experience with this kind of spatial reasoning - just to give it a shot, so we can plant a seed in their brains that will gradually develop as we continue to explore it further in the next lessons.

Lastly, your organic intersections are coming along well. You're capturing a sense of how the forms interact with one another in 3D space, instead of just as flat shapes on a page, and you're selling a strong sense of gravity in how they slump and sag over one another.

All in all, you're doing a pretty good job. I am still concerned about your ellipses, and generally making sure that you execute all of your lines with confidence, never putting accuracy ahead of a smooth execution. That said, I think you should be good to move onto the next lesson, so I'll go ahead and mark this one as complete.