Starting with your arrows, these are certainly flowing quite nicely through space. Don't forget though that the gaps between the zigzagging sections are subject to perspective and foreshortening, so they should be getting narrower the farther back we look in order to properly convey a sense of depth in the scene. Also, I did notice that the lines on some of your arrows come out a little scratchy at times. I suspect this may be because of how you're applying line weight - remember that line weight, like all your marks, should be executed with confidence, and should be limited to shorter sections of lines rather than going back over them in their entirety. Line weight primarily serves to help clarify particular overlaps between lines, so don't overdo it.

Moving onto your organic forms with contour lines, I think you are indeed trying to stick to simple sausage forms as mentioned in the instructions, but there is definitely some room for improvement on this front, specifically in avoiding any pinching or swelling through the midsection of the forms. Other than that though, your contour lines are looking great. They're confidently drawn, they wrap around the forms quite well, and you're demonstrating an understanding of how the degree ought to shift as we slide along the length of a given form.

Continuing onto your texture analyses, this is definitely moving in the right direction, although I do have a few recommendations of things to keep in mind. To start, I'm pleased with your willingness to lean into clear shadow shapes, and to leverage them to help you control the density of your textures from left to right. That said, you do tend to still rely quite a bit on outlining your textural forms, and on using lines as a whole. While it's certainly not easy, you are going to have to let go of the lines altogether when drawing textures and focus only on implying the presence of those forms by drawing the shadow shapes they cast. You can adhere to this by making a point of drawing every textural mark using this two-step process. Also, take a look at these notes in regards to avoiding the reliance on outlines.

The other point I wanted to mention was that there is a distinction between cast shadows and form shading. In your alligator scales, you draw the shading on each of the scale forms, which is not actually correct. Instead, I want you to focus entirely on just drawing the shadows those forms cast on their surroundings. As explained in these notes, just like outlines, drawing the form shading is part of capturing a textural form using explicit drawing techniques. When we rely on implicit drawing techniques, we are basically doing everything but drawing the form, to suggest that it's there without actually addressing it directly.

You continue to push your observational; skills throughout the first page of your dissections - the same issues still apply, but you're doing a good job of exploring a variety of different textural forms. I do however want to remind you that when you're drawing a texture, you should be ignoring all of the surface's 'local' colour or patterning. The only information we're capturing pertains to the actual forms on the surfaces - it's all stuff that exists in three dimensions. The pattern of a watermelon for instance, or the dark colour of a rock, are things that are entirely irrelevant to our purposes. Again - only focus on cast shadow shapes.

Admittedly your second page of this exercise was pretty sloppy - it's clear that you lost interest in the exercise. Remember that you are allowed to spread a task over numerous sessions, and that you should always take breaks whenever needed so that when you do actually sit to work on the exercises, that you're working at the best of your current ability. Work done sloppily and without focus isn't terribly useful when it comes to these critiques, because it doesn't reflect what you actually can do.

Continuing onto your form intersections, these are by and large quite well done. You're drawing the forms such that they feel cohesive and consistent within the same space. You've also got a good start on the intersections. Admittedly I'm not actually interested in whether or not the intersections are correct - this exercise serves as an opportunity to make an attempt at figuring out how forms will relate to one another in 3D space, so that the student's brain is exposed to these kinds of spatial problems. As we continue exploring these kinds of challenges throughout the entirety of the course, your spatial reasoning skills will certainly continue to develop. This is just a starting point, and you did a great job of jumping into the deep end of the pool. That's precisely the kind of confidence I want to see.

Lastly, your organic intersections are similarly coming along well. You've done a good job of establishing how these forms interact with one another in 3D space, and ahve conveyed a pretty decent sense of gravity in how they slump and sag over one another. Just one thing - make sure you're always pushing yourself to stick to the characteristics of simple sausage forms, as mentioned back in the contour lines exercise.

All in all you're making good progress. I'll go ahead and mark this lesson as complete.