Starting with your arrows, they're flowing very well through space, and you're generally demonstrating a good grasp of how the spacing between the zigzagging sections ought to compress due to foreshortening as we look farther back in space in order convey a strong sense of depth. This is often something that is applied to the positive space (the arrow itself) but is neglected for the negative space.

Moving onto the organic forms with contour lines, what stands out most is that you didn't really adhere to the characteristics of 'simple sausages' as discussed in the instructions. This is particularly important, especially as we move onto the next lessons where we use these sausage forms as base elements for our constructions. Keeping them simple in this manner helps promote the illusion of their solidity, which is key for building up more complex objects from these kinds of basic forms.

In addition to this y ou are visibly struggling when it comes to fitting your ellipses snugly inside of the sausage forms. One thing that can help to tighten up those ellipses and increase your overall precision is to make sure you're applying the ghosting method, as you should be doing for every single mark you draw, so you can reinforce the ellipse you wish to draw with the appropriate preplanning and preparation.

You do a notably better job in controlling your contour curves - you keep them snugly between the edges of the sausage's silhouette and capture a strong sense of how it wraps around the form. There is a bit of visible hesitation on these curves but it's very slight. So what you need to work on is making the contour curves just a little more confident and smooth, and bringing your ellipses back under control.

Continuing onto the texture analyses, for the most part these are very well done. You're showing a clear focus on defining shadow shapes, and are making a clear effort in doing so to control the density of your textures as you transition from solid black to solid white over the course of the gradient. As you move into the dissections, you largely hold to the same principles, though I do see some areas - particularly textures made up of more distinct forms (like paving stones and other such separate forms) where you fall back on outlining them first, rather than working entirely with shadow shapes. This is a common issue, and these notes go over how to think about approaching these textures by using shadow shapes only. This is something you are entirely capable of doing, as you did so correctly in the texture analyses. It's just a matter of applying the same way of thinking to these dissections.

Moving onto your form intersections, the first thing that jumps out at me is that your linework is visible hesitant. I'm not seeing signs that you're employing the ghosting method to keep up the confidence of your marks, so you're likely jumping into drawing those lines in one go. Remember that the ghosting method exists purely to let students execute their marks with confidence, without hesitation or fear of making a mistake. You can read more about the mindset that goes into the ghosting method in this response to another student.

Now, as a whole you are drawing these forms such that they feel roughly cohesive and consistent within the same space, though when drawing your boxes you do need to maintain awareness of the convergences of your lines. Be sure to continue practicing those freely rotated boxes (like from the box challenge, along with the line extensions) to improve your ability to keep the convergences consistent.

As for the intersections, I noticed that you were pretty hesitant in terms of trying them. It's totally normal that these are going to be way out of your comfort zone, and I don't expect students to have any prior experience with them. All we're doing here is pushing students to make an attempt, so they can start thinking about how these forms relate to one another in 3D space and how those relationships can be defined. Drawabox relies on this kind of introduction-first approach a fair bit, setting up students to tackle things well before they're ready, because it provides them with contextual awareness that ultimately makes the process smoother in the long run. Of course, the key to this is that you try.

And you did try, though not as much as I would have liked to see. A lot of your attempts were pretty good, too, demonstrating a solidly developing understanding of how these forms would relate to one another in space. In the future, and when practicing these as part of your warmups, be sure to push yourself further to make more of those attempts, even if you're afraid they're going to come out wrong.

Lastly, your organic intersections are coming along well, establishing how these forms interact with one another in 3D space, rather than as a series of flat shapes stacked on a page. You're also conveying a good sense of gravity in how they slump and sag over one another.

All in all your work is coming along well, though you do have some things to keep on top of - being sure to draw simple sausage forms, tightening up your ellipses, and being more willing to attempt things with confidence even if you aren't sure what you're trying to do is correct. It's entirely okay to be wrong - that's how we learn.

I'll go ahead and mark this lesson as complete, but be sure to keep these points in mind as you continue forwards.