Starting with your arrows, these flow very nicely through 3D space, and overall I'm seeing that you're definitely allowing the spacing between your zigzagging sections to compress with perspective, in order to show the full depth of the scene. Well done.

Moving onto your organic forms with contour lines, you've done a great job of sticking to simple sausage forms, for the most part. There are the odd cases where the midsection swells a little (instead of maintaining a consistent width), and ones where the ends are more stretched (instead of being properly spherical) but you're largely doing a good job. One isue I am noticing however is that the degree of your ellipses/contour curves remains the same throughout - as shown here, they should be shifting wider/narrower in order to properly demonstrate how each cross-section's orientation relative to the viewer changes along the length of the form. Also, watch your alignments - it's important that you focus on getting them to align to the central minor axis line, and there are a few where there's been at least a slight slant throughout.

Moving onto your texture analyses, for all intents and purposes you're absolutely showing a strong grasp of the concepts covered in the lesson. There's an element of the exercise you appear to have missed, but in essence you're doing a great job of focusing on capturing the shadows cast by the forms rather than outlining them, and are also showing a good sense of how to control the density from dark to light. What you're missing is that the black bar on the far left of each density gradient is still prominent and visible - you're meant to blend from pure black to pure white, so the bar's edge should become impossible to identify when you're finished.

You're continuing to demonstrate a great overall grasp of conveying texture and detail with the ability to control its density throughout your dissections exercise. You're doing a great job of exploring different textures, and approaching each one with considerable success. No one approach is entirely the same, but they all demonstrate a shared grasp of the core underlying concepts. Very well done.

Moving onto your form intersections, many students do find these difficult and confusing, and like you, they dwell a lot on those intersections themselves (even when they understand that they're not the focus of the exercise). Beyond the lesson regarding how the intersection lines the points along the surface of both intersecting forms that are shared by both forms (which I explain here), I don't offer anything further than that for students who are particularly set on understanding how intersections work now. Simply put, there's nothing else to it but that, and a lot of practice to develop one's understanding of the relationships between their three dimensional forms. Being at the very core of Drawabox, and merely being introduced, here, it is something we dig into throughout all subsequent lessons, all the way to Lesson 7, and by working through them and employing constructional techniques throughout, we continue to tackle this same problem from many different angles, gradually refining our understanding. So no, there isn't really a tip or trick that will be offered that can compress those months of mileage.

That said, you specifically don't actually need any such tip-or-trick anyway. What you're demonstrating through your work here is an exceptionally sound understanding of how not only to draw forms that feel consistent and cohesive within the same space, but a strong understanding of how these forms relate to one another in space. Your intersection lines are largely correct, and while you may feel uncertain about your results, those same results show that it is merely a matter of lacking confidence in your own skills. Fortunately, continued use of those skills should help with that as well. Either way, you're sitting at a considerable advantage here over other students at this same stage.

Lastly, your organic intersections are generally doing a good job of capturing how these forms interact with one another as they exist in this pile, ever searching for a state of stability and equilibrium. You're capturing their relationships as they slump and sag against one another, and do a pretty good job of establishing that they are three dimensional forms, not just flat shapes that exist on a flat page. That said, there were a couple things that stood out to me - the topmost forms on the second page end up getting somewhat squeezed, like they're fitting through a hole they're much too large for, and it compromises the sense of solidity of those forms. As you draw these in the future, make sure you envision the sausage forms as being like waterballoons - filled enough to have volume of their own, and not to be so thoroughly squeezed, but flexible enough to be able to bend over one another. This means those forms will remain rounded throughout, though gravity will cause them to slump.

So! All in all, very nice work. The only significant issues to keep an eye on are with those contour lines earlier in the lesson, so I'll go ahead and mark this lesson as complete and leave you to work on them in your warmups.