Starting with your arrows, they're definitely flowing confidently and fluidly through space. One issue you're running into however is with the application of perspective and foreshortening. The gaps between the zigzagging sections, just like any other part of the arrow, are subject to foreshortening - therefore those gaps should be getting smaller and tighter as they move away from the viewer. In many of your arrows however, those gaps actually appear to remain consistent or even get larger as we look farther back. Keep things in mind and applying it in the future will help you better convey the sense of depth in the scene.

Moving onto your organic forms with contour lines, the first thing to point out is that while you're not too far off, you are somewhat struggling to adhere to the characteristics of simple sausages as described in the instructions. The key is to keep the width consistent through the form's midsection, only allowing it to shrink when it reaches the circular/spherical ends. More often you're drawing the sausages such that their ends are a little more stretched out, which in turn tend to cause the midsection to swell out more, looking a bit more like a croissant than a sausage.

For the contour lines themselves, you've got varying success - you're generally drawing the ellipses with confidence, although greater use of the ghosting method before executing those marks will help keep them more in line. For the contour curves, keep an eye on their alignment - when they slant slightly relative to that central minor axis line, it tends to make it harder to achieve the illusion that the line is wrapping around the rounded form.

There is one last issue to be aware of - it seems like you may not entirely follow how the degree of your contour lines ought to change, shifting gradually either wider or narrower as we slide along the length of the form. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

Moving onto your texture analyses, you've done a pretty great job at these. You've clearly leaned in hard to working with clearly designed shadow shapes, all informed by the forms present in your textures. As a whole they do a good job of implying the presence of the textural forms that cast them, and you leverage them fairly well to control the texture density throughout the gradients. You continue to hold to this throughout the various experiments in your dissections, and you don't appear to fall victim to the common trap of outlining your textural forms here (at least for the most part - you do get a little heavy on the outlining in your chinese cabbage).

Moving onto your form intersections, to start you've done a really good job of drawing these forms such that they feel cohesive and consistent within the same space. You've got a good start on the form intersections too - not to say you've done them perfectly or anything like it, but what I'm especially pleased to see is that unlike a lot of students, you've jumped in whole-hog and boldly committed to the specific choices you made. Are most of them wrong? Yup! But that's not what matters right now. This exercise doesn't expect you to have any prior experience with this kind of a challenge, and the point is not for you to be getting them right. It's to introduce you to the challenge of thinking about how your forms can relate to one another, and how to define those relationships on the page. By planting this seed right now (or in your case, sowing a whole damn field), we'll continue to nurture them throughout the entirety of the course, developing your grasp of how these forms can all exist together. As far as I'm concerned, you're doing a great job. And for what it's worth, your intersections do also improve over the 4 pages of this exercise, with more of them on the last page being correct. But again, that doesn't matter so much right now.

Lastly, you've got a similarly great start on your organic intersections. You've done a good job establishing how these forms interact with one another in 3D space, rather than as stacked shapes on a flat page. You've also done a good job of creating an illusion of gravity in how they slump over one another.

All in all, your work here is quite well done. I'll go ahead and mark this lesson as complete.