Starting with your arrows, you're doing a good job of capturing how each one flows smoothly through space with a s trong sense of fluidity, and confident linework. You're also doing a pretty good job of applying perspective to both positive and negative space - that is, both the physical ribbon itself, which gets narrower as it moves farther away, as well as to the distances between the zigzagging sections.

Moving onto your organic forms with contour lines, you're doing a pretty good job of sticking to simple sausage forms, but watch out the tendency to have one end get more stretched out. You want your ends to be the same size, and circular/spherical in nature, in order to maintain the simplicity that will lend the form a greater sense of solidity.

Looking at your contour ellipses, we hit our first major issue - you're not drawing through your ellipses. This principle, introduced first in Lesson 1, should be employed for every single ellipse you draw throughout these lessons. It will help you draw your ellipses more confidently, so as to achieve smoother, more even shapes, and will also give you more practice in developing your muscle memory.

In most cases the degree of your contour lines appears to be pretty consistent, which is not 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.

You do get more degree shift in your contour curves, but this tends to be somewhat backwards. As explained here, if you're dealing with an entirely straight form, then the cross-section closer to the viewer will have a degree narrower than the end farther away.

Moving onto your texture work, you've done a pretty great job. You're focusing clearly on using shadow shapes rather than outlining your forms, and you continue to demonstrate a clear focus on avoiding the tendency to close off textural forms from one another in this manner. This in turn has allowed you to improve your control over the density of your texture at any given point. With continued practice, you'll certainly further this control, and as it stands you're absolutely moving in the right direction. On top of this, you're showing a pretty strong attention to detail when it comes to observing your reference images, though keep working on relying on your memory as little as possible. Always spend your time studying your reference, and only look away for long enough to put down a very specific shadow shape before looking back to the reference.

Moving onto your form intersections, you're doing quite well in drawing these forms such that they feel consistent and cohesive within the same space. You've also got an excellent start on the intersections themselves - these are meant to be introduced in this exercise and don't come with any expectation of success or past experience. They expose the student to the concept of spatial relationships, which we will continue to explore throughout the entirety of this course. You can consider this a starting point, and you're doing a great job.

Lastly, your organic intersections are doing a decent job of establishing how these forms interact with one another in 3D space. I would however try to approach this exercise from a lower angle of view. The high angle you're using currently doesn't give us much of a chance to see forms wrapping around behind others as they slump under the force of gravity, and so the impression is somewhat lessened in this manner. Also, remember to keep in mind where your light source is, and to keep the direction in which the shadows are cast consistent. On your second page, you've got shadows being cast both to the left and the right of forms.

All in all, your work is coming along quite well. Make sure you draw through your ellipses as you move forwards, but other than that, keep up the great work. I'll go ahead and mark this lesson as complete.