Starting with your arrows, you're doing a great job of drawing them with a strong sense of flow and confidence. You are however at some times inconsistent in terms of applying foreshortening to the spacing between the zigzagging sections - for example, if we look at the arrow on the top right of the first page, the spacing is a little larger up front, but then remains pretty consistent throughout. Definitely exaggerate the rate at which this negative space compresses as it moves away from the viewer. You do a somewhat better job of this towards the top left of the second page, although it's still an issue in some of them.

Moving onto your organic forms with contour lines, you're doing a great job of sticking primarily to the characteristics of simple sausages as explained in the instructions. You're also drawing the contour lines with confidence and an even shape, maintaining the impression that they run along the surface of these rounded forms. You do sometimes end up with contour lines that appear to maintain the same consistent degree throughout the length of the sausages however, which isn't actually correct. 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.

Continuing onto your texture analyses, you've done an excellent job. Really knocked this one out of the park. YOu've clearly focused entirely on the use of shadow shapes with no attempts to define the position of your various textural forms through outlining them. In relying so fully on implicit drawing techniques, you've given yourself the freedom to control the textural density quite a bit - although you I'd say you didn't necessarily take full advantage of that control. While the gradation is certainly there, when it comes to pushing your shadow shapes to really swell out and engulf their surroundings towards the far left of the gradient, you seemed to hesitate, resulting in a more notable jump from that fully black bar to the texture. You did an okay job of blending the black bar into the texture in the first row, a somewhat weaker job in the second, and then basically no attempt at all in the third. All the pieces were in place, you just need to push yourself a little further to make it that last little bit.

I'm still pleased with your results, of course, and they carry over quite well into your dissections. I noticed that in the feathers texture you did fall a little back on some lighter hatching lines - just be sure to always use more solid, filled in shadow shapes, and try to avoid hatching for the time being. The patterns of shadow shapes we're creating are specifically to serve as a replacement for hatching, since hatching doesn't actually convey much about the surface quality of a given form. Aside from that, your work throughout the dissections show an exceptional eye for detail, and a continuing, growing grasp of how to leverage these shadow shapes and control the density of your textures.

Moving onto the form intersections, you're doing a good job of constructing these forms such that they feel cohesive and consistent within the same space. When drawing your boxes though, I think more time should be spent on specifically figuring out how the orientation of the mark you're drawing will allow it to converge consistently with the other lines of its set (that is, those it's meant to run parallel with in 3D space). There are a few places where this gets a little wonky, perhaps where thinking of all 4 lines of a given set (including those not yet drawn yet) may have slipped your mind.

You've got an excellent start on the intersections themselves, and have already shown yourself proficient in handling some rather complex relationships between forms. We by no means expect students to have any experience with this sort of thing, and it's only meant to serve as an introduction to thinking about how forms relate to one another and how those relationships can be defined, so you're definitely putting yourself at an advantage here. I did however notice that when adding line weight you tend to do so with a scratchier set of lines. Instead, execute your additional marks with a single stroke, still using the ghosting method to ensure a smooth execution rather than a more hesitant series of smaller ones.

Lastly, your organic intersections are coming along fairly well, in terms of defining how those forms interact with one another in 3D space, and conveying the illusion of gravity in how they slump and sag over one another. I do however want you to try to stick to simple sausages - think of them all as being filled water balloons, where they'll wrap around the forms beneath them a little as they try to settle, but they won't outright lose their shape or volume. Some of your forms on the second page tend to get a little.. melty, for lack of a better word.

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