Tofu has tagged me in to handle these revisions, so let's jump right in.

Starting with your neweset set of organic forms with contour curves, I can see that you've made a more concerted effort to stick to the characteristics of simple sausages. There are some discrepancies here and there but the point is that you're aiming in the right direction now. There are however a couple issues that I do want to call out however:

• It appears that for some reason you've stopped 'overshooting' your curves as instructed here. This is resulting in your contour curves mostly coming out much more shallowly than they ought to, and in some circumstances actually flying off the surface of the sausage (rather than giving any impression that they hook back around and continue along the other side. Do not stop overshooting those curves. You may see it as 'trainingwheels' and may feel eager to shed them as soon as possible, but it is much more beneficial to keep them on throughout this course.

• Remember that all of the ellipses you freehand throughout this course must be drawn through two full times before lifting your pen, as discussed back in Lesson 1.

• Another point I noticed is that you seem to be slapping those ellipses down somewhat arbitrarily, without necessarily understanding what they signify. This goes along with your uncertainty of how to capture the impression that a sausage form would be faced head-on. This ellipse at the tip of a sausage form is actually no different from the contour curves themselves - they're all just contour lines. It just so happens that when the tip of a sausage faces towards the viewer, we're able to see all the way around that surface, and thus we're able to see the whole contour ellipse instead of just a partial curve. This also means that the full ellipse should only be drawn on the ends that are oriented towards the viewer, and that it needs to be consistent with what the contour curves themselves are telling us about the form's orientation. All of your contour curves have been drawn in such a way that tells us that both ends of each form are turning away from the viewer, and so none of these sausages should actually have an ellipse at either of their tips. There are other ways to lay out contour curves however. On this chart you can see sausages in different configurations - pay attention to what the contour curves themselves say, and then look at which ends have ellipses and which don't.

• I also recommend that you review the Lesson 1 ellipses video, as it goes over the role the degree of a given ellipse plays in establishing the orientation of the circle it's meant to represent in 3D space - where a narrower ellipse signifies a circle that is turned away from the viewer, and a wider ellipse signifies a circle that is facing the viewer head-on.

As to your work on the organic intersections, you're doing a good job considering how the forms themselves wrap around the ones beneath them, demonstrating believable relationships in 3D space and a clear sense of the gravity applying to the scene. When it comes to the cast shadows themselves, you're headed in the right direction but I am seeing some difficulty in determining how to actually cast the shadows such that they run along the surfaces they're falling upon - specifically situations where those surfaces are curving away from the form casting the shadow.

Here's an example of how I might tackle designing one of the larger sausage's shadows, such that it actually wraps along the surfaces beneath it.

I think those shadow concerns for your organic intersections are pretty normal and can continue to be dealt with as you move forwards, but the issues with your understanding of those contour lines in the first exercise does still need to be addressed. As such, I'd like you to do 1 more page of organic forms with contour curves.