Starting with your arrows, these are definitely flowing fluidly and confidently through all three dimensions of space. You're capturing an excellent sense of motion. For some of the arrows though - like the bottom left of the first page, you're not quite applying foreshortening correctly. The gaps between the zigzagging sections should be getting narrower and tighter as they move back in space, but in that particular case you've got the gaps getting larger.

Moving onto your organic forms with contour lines, the sausage forms themselves are adhering nicely to the characteristics of simple sausage forms as mentioned in the instructions. Your contour ellipses are also looking very confident and well drawn, although your contour curves are a little more haphazard. You're certainly moving in the right direction, but you definitely need to keep working on getting them to fit snugly between the edges of your organic forms. Using the ghosting method will certainly help with this, although I'm sure you're applying it already. So just make sure that you're investing appropriate time into the planning and preparation phases.

Moving onto your texture analyses you've got somewhat mixed results here. You are definitely working with strong shadow shapes and no outlines, which is a good start. The issue that follows however is that the shapes you're drawing are somewhat more abstract and arbitrary - at least in the second and third rows. In your first row, you've done a great job - those shadow shapes properly imply the presence of the crumpled paper forms. They're extremely specific - not made up, but clearly observed and carried over piece by piece. The thing about these textures is that they're made up of cast shadows - meaning that each one is the result of a piece of form that actually casts a specific shadow, and that shadow implies things about the form itself. If however you draw your shadow shapes to be more arbitrary or vague, then it shows that you're not necessarily thinking much about the forms present in the texture, and so they don't really do a great job of implying the presence of that 3D surface information.

Now, that's all normal, and students aren't expected to have prior experience with this. It's merely an opportunity to expose you to this kind of challenge, and get you thinking about it. You'll notice the same thing will come up with the form intersections.

Moving onto your dissections, I think you definitely show a lot of improvement in your willingness to pay careful and close attention to your reference images, ensuring that the marks you draw do in fact reflect what is actually there. You do however lean a bit harder into the habit of relying on actual outlines around those textural forms, which is an issue I describe here in the notes. One thing you can do to avoid the tendency to use outlines like this is to ensure that every textural mark you draw uses this two step process. It'll ensure that every mark you put down is an enclosed, filled shape.

Continuing onto your form intersections, your work here is very well done. Your forms feel cohesive and consistent within the same space, and you're demonstrating really confident, solid linework. You've also got an excellent start to the intersections themselves, far and away beyond what I generally expect to see from students at this stage. As mentioned previously, it's meant to be an introduction so students can start thinking about how the forms they draw relate to one another in 3D space, and how those relationships can be defined on the page, so that this seed we've planted can continue to develop as we explore this concept throughout the entire course. You however are showing a lot of comfort with this spatial reasoning, so you're really off at a solid pace.

Lastly, your organic intersections are coming along nicely as well. You've clearly defined how the forms interact with one another as 3D forms, rather than as a series of flat shapes stacked on a flat page. Your cast shadows also wrap very nicely around the underlying surfaces, which strongly reinforces the sense that this is 3D, and not just a drawing.

All in all your work is coming along well. While I was concerned about your contour curves, I see them improved in the organic intersections, so I'll go ahead and mark this lesson as complete.