Starting with your arrows, these are flowing very confidently through space, conveying a strong sense of movement. You're also doping a good job of applying perspective's compression of space to both the positive space (the width of the ribbons) and the negative space (the distances between the zigzagging sections) on the first page, though somewhat less so to the second page. Remember that perspective applies consistently to everything - whether it's the size of objects, or the distances between them.

Moving onto your organic forms with contour ellipses, you're doing a good job of maintaining proper, simple sausage forms, and adhering to the instructions about that in the lesson. You've also got smooth, confident ellipses that are placed accurately within the edges of the sausage forms. The only issue here that needs to be addressed is that there is an issue with their degrees, which maintain a consistent width throughout the length of the form. Instead, the degree of each contour ellipse represents the orientation of that cross-section relative to the viewer, and this changes as we look at different points along the sausage, as shown here. This means that the degree needs to gradually change along the length of the form, either getting wider or narrower depending on the circumstance.

Your contour curves are essentially going just as well - the curves wrap around the forms well, your line execution is confident and well executed, but your degrees are too consistent and need to shift either narrower or wider as we slide along the length of a form. Also, for those contour ellipses along the tips of your forms - don't forget to draw through them, as you did before. This should be done for each and every ellipse we draw through all of these lessons.

Moving onto the texture analyses, stellar work. You've clearly focused on the use of shadow shapes rather than outlines, and have used them to achieve a smooth transition from dense to sparse. You're also showing a well developing use of your observational skills, paying close attention to details. You continue to pay attention to those details throughout your dissections, though there are some cases where you fall back to outlining textural forms completely. This tends to happen specifically with textures that involve discrete, specific forms - like bricks. Remember that regardless, we're still just implying the bricks' presence with shadow shapes. Your crocodile skin is a similar kind of texture, though you've tackled that one somewhat more effectively, with a clear focus on how to transition from sparse to dense. The tiles on the second page are also better, though still mostly closed off. These notes go over this issue.

Your work on the form intersections is very well done. You're keeping your forms consistent and cohesive within the same space, and you've got a good start in tackling the intersections that actually improves a fair bit from page to page. Overall, I don't expect students to have any prior experience with understanding how these forms intersect with one another - it's a concept we're introducing here as a starting point, so students can have that seed planted in their minds, and continue thinking about it as they move onto the next lessons. The rest of this course continues to explore this concept, and you're at a good position to continue developing your spatial reasoning skills.

Lastly, your organic intersections are also well done. You've done a good job of establishing how those forms interact with one another as three dimensional entities, rather than just as flat shapes on a page. You've also conveyed a strong illusion of gravity in how those forms slump and sag over one another.

All in all, very well done. I'll go ahead and mark this lesson as complete.