Starting with your arrows, these are drawn with a great deal of confidence, and do a pretty good job of exploring all three dimensions of space. I did notice however that the rate of compression for the distance between the zigzagging spaces isn't entirely consistent - sometimes you go from a big gap between the zigzag closest to the viewer, then a small gap, then a big gap again. Remember that perspective will apply to those distances same as it does to the width of the arrow, so you're going to want to make sure the compression of space matches.

Moving onto your organic forms with contour ellipses, I am noticing that for the most of these, you're not drawing through your ellipses, resulting in linework that is quite stiff and slow rather than smooth and confident, and ellipses that are not evenly shaped. All things considered they're still not badly drawn, but it really is important that you draw through all the ellipses you draw for this course.

Another thing I noticed was that the degree of your contour ellipses seem to jump around between being totally consistent throughout the entire length of a given sausage form, and being somewhat more random. In case you're not sure of which degree to use in a given point, the degree corresponds to the orientation of that cross-section in space as it relates to the viewer, and this will change as we slide along a given form as shown here. So you're usually going to see the degree shift from narrow to wide or wide to narrow, or wide-to-narrow-to-wide. It's not going to stay the same throughout, and it'll be a smooth transition.

Now for the most part you are doing a pretty good job of sticking to simple sausage forms as explained here. There are some places with a bit of pinching through the midsection, or ends that are either different sizes or stretched instead of properly spherical, but you're mostly doing a good job there.

The same things apply to your contour curves, though I think the issue with the degree is a bit better there.

Moving onto your texture analyses, you're definitely showing me that you do largely understand the concepts covered in the instructions. You're making a strong effort to move away from relying on lines and outlines and instead focusing on using strong shadow shapes, and it's having excellent results. I am noticing a tendency to have scratchy shadow areas though - this is likely just because the nature of using a fineliner to fill them in. In the future a brush pen may be a good choice, but if you don't have one on hand it's understandable.

Your dissections similarly came out well, with excellent attention to detail, though I do think the lack of density variation here could have been better. I generally try and pick a strip of the sausage that would be roughly oriented towards the viewer and I choose to make that where the light hits strongest, resulting in a very sparse texture, then transitioning to dense out from there.

Skipping down to your form intersections, I definitely noticed that you did have a tendency to draw the same line more than once sometimes. This kind of automatic reinforcing of your lines is a bad habit, and something you should work towards breaking. Always remember to apply the ghosting method - that means thinking about the specific mark you want to put down and the job it's meant to accomplish, then planning through its approach (with ghosting and all that), and finally executing with a confident stroke. If you're forced to think and plan before every mark, you won't be able to make those kinds of automatic strokes.

The reason we want to avoid them is because they cause us to lose control over what we put down. A lot of students will attempt to correct mistakes, for instance, but this will draw more attention to a problematic area without actually solving it. If you end up doing this automatically (as many do), then you're going to end up with heavier lines that serve no purpose.

Now, aside from this you are largely doing a good job with this exercise, being able to construct forms consistently together within the same space such that they feel as though they belong together. You're also getting a good start in on understanding the intersections between the forms - this is something we're merely introducing here, so I don't expect students to be able to nail this just yet. Instead, it's a concept that is at the core of drawabox as a whole - understanding the spatial relationships between our forms is something we'll continue to work on all the way through to lesson 7. By presenting it here and having students take a swing at it, they'll start thinking about how those forms actually relate to one another in space. All things considered, you're doing a pretty good job with it already.

Lastly, your organic intersections are alright - you're definitely showing a convincing sense of how those forms slump and sag against one another, and how they interact in 3D space. Your linework is definitely lacking however, and feels quite clumsy - you've got a lot of contour lines extending outside of the silhouette of a given form, and overall it does tend to feel quite stiff. Remember to use the ghosting method for every single mark you draw - this will help you draw with more confidence, keeping your lines fluid and smooth while reinforcing them with the preparation needed to maintain your accuracy.

All in all, you're doing a pretty good job. There are definitely areas to continue working on, but you will have ample opportunity to do that as part of your warmups. As far as this lesson is concerned however, I'll go ahead and call it complete.