Starting with your arrows, these are largely flowing quite well through space, and a number of these convey a good sense of depth specifically in how foreshortening is applied to the gaps between the zigzagging sections. There are a couple that seem to be a bit backwards (one towards the top right that gets larger as it apparently moves away from the viewer), and there are cases where the compression of those gaps between the zigzagging sections can indeed be exaggerated a little further, but all in all you're making good progress.

Moving onto your organic forms with contour lines, you're clearly making an effort to stick to simple sausages, as covered in the instructions. There are a few places where you end up with ends of different sizes, or slight pinching through the midsection though, so keep an eye on that. You're largely drawing your contour lines with confidence, wrapping them believably around the surfaces of the forms, but I am noticing that the degree of your contour lines appear to remain largely consistent. 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.

Continuing to your texture analyses, it's clear that you're doing an excellent job here of focusing purely on the shadow shapes cast by the texture forms along the surfaces you're studying, and you're using them very effectively to control the density of your gradient from left to right. You're also demonstrating strong observational skills and keen attention to detail. This continues into the dissections for the most part, although here I can see several cases where when the textures focus more on concrete, separatable textural forms (like the bricks, or the scales), you fall back on outlining them first rather than defining them entirely through shadow shapes. These notes touch upon this issue, so be sure to read them.

Your form intersections are largely looking good, although there are little things here and there that can be improved upon. I noticed that through all but the last page, you didn't construct your cylinders around central minor axis lines, as demonstrated in the diagram for this step. I'm glad you picked up on that issue eventually, of course. Additionally, when drawing your boxes, always be sure to think about each line in terms of the full set of lines with which it runs parallel. Always think about how the line you're drawing needs to be oriented in order to point towards the same vanishing point. It's easy to get too relaxed and forget about that, and so there are some cases where some mistakes become a little more prominent.

As far as the intersections are concerned, you're off to an excellent start. You're doing a great job of thinking about how these forms relate to one another in space, and how these relationships can be defined within the drawing. This is precisely what I want to see - the purpose of this aspect of the exercise is all about getting students to start thinking about these spatial problems. Once they're thinking about them, they'll continue improving and developing as we explore the concept throughout the rest of the course.

Lastly, you're nailing your organic intersections. You've established how these forms interact with one another in 3D space, rather than as a series of stacked shapes on a flat page, and you're doing a great job of implying gravity through how they forms slump and sag over one another. Very well done.

All in all, your work is coming along quite nicely. I'll go ahead and mark this lesson as complete.