Starting with your arrows, you're largely doing a good job of getting them to flow smoothly through space. There are a couple cases where as we look further back there are very subtle signs that you may be resisting letting the zigzagging sections overlap one another, which is an important part of conveying the depth - but other than that, you're doing a good job of letting the distances between them compress with perspective.

Moving onto your organic forms with contour lines, you've done a good job of sticking pretty close to the simple sausage characteristics outlined in the instructions, though there are definitely areas where the ends are of differing sizes, where the ends aren't quite spherical (sometimes it's easy to stretch them out slightly), or where the forms get narrower or wider through their midsections. So there's still room for growth on that front, but you're largely doing a good job there.

I am noticing however that your contour ellipses do appear to be drawn a little too slowly, resulting in definite rigidity to their shapes. It seems you're focusing very heavily on their accuracy, keeping them pinched between the edges of the sausage form. This is indeed important, but ensuring that they are drawn with a confident, persistent pace (using the ghosting method) in order to maintain the evenness of their shape is our first priority. Once we've nailed that down, we can worry about accuracy by investing more time in the planning and preparation phases of the ghosting method, not in the execution.

Additionally, keep an eye on the degree of the contour ellipses and curves. Your ellipses' width is changing in some cases, (which they should), but they way in which they do feels somewhat inconsistent and potentially unintentional. As we slide along the length of these sausage forms, their degree should change to correspond with how the orientation of that cross-section changes relative to the viewer, as shown here.

Your work on the texture analyses are honestly very well done. It's clear that you've done a great job of thinking more in terms of shadow shapes and have set aside the common reliance upon outlines. This has instead given you considerably more control over the density of your textures, which you continue to exhibit throughout your dissection exercise as well. I'm especially pleased with ones like the bubble wrap, but honestly you've done a pretty great job across the board. I do think that the fur texture jumps a little suddenly from dense to sparse, but you're approaching it correctly - just need to leave a little more room for the transition.

For your form intersections, one thing stands out to me - you seem to have missed the part of the instructions that stresses the importance of focusing only on more equilateral forms - that is, forms that are roughly the same size in all three dimensions, and not including the kinds of longer cylinders you've used here. These longer cylinders bring more complexity into the mix with a greater emphasis on foreshortening, making an already difficult exercise more challenging.

Additionally, there are definitely places where your linework - especially on your spheres - gets erratic and chicken scratchy, breaking away from the principles learned in the previous lesson. Remember that every single mark you draw should be done using the ghosting method, that every mark should be executed with confidence, and that you should not go back over marks in order to correct them.

Now, you are doing a reasonably good job at drawing the forms together within the same space in a manner that feels cohesive and consistent, which is the primary focus of the exercise. The intersections themselves - which define the spatial relationships between the forms - are something we merely mean to introduce at this stage, and as a concept exist at the core of Drawabox. As such, they're something we'll continue to work on and develop throughout the course and I have no expectations for students to be able to do them successfully just yet.

That said, you've actually demonstrated very strong spatial reasoning skills here, and your intersections are generally on point. While this is great and it does put you at an advantage moving forwards, I do wonder if you dedicated more cognitive resources to figuring that out, to the detriment of your actual linework. If your linework ended up coming out more haphazardly here because you were fussing with the intersections, then it's a matter of priorities - your linework is the bedrock of everything you draw, so we need to ensure that it is sorted out in a consistent manner first, rather than being eager to sacrifice it in favour of more complicated concepts.

Lastly, your organic intersections are a good start. You're doing well to demonstrate how those forms slump and sag against one another in a believable three dimensional pile, rather than looking like a series of flat shapes pasted on top of one another on a flat page.

All in all, you're doing well. There are things you need to work on, but there will be ample time for that as part of your regular warmup routine. I'll go ahead and mark this lesson as complete.