Starting with your arrows, these certainly flow quite nicely through 3D space, with a strong sense of motion and fluidiuty. One thing I am noticing however to varying degrees is that you may not be as mindful of compressing the spacing between the zigzagging sections in a consistent manner that reflects the rate of foreshortening applied to the ribbon itself (which gets narrower as it moves back in space). You are applying it to a point, and there are certainly some that end up with the ribbon overlapping itself as those gaps get really tight (which is good), but it does need to be more consistent in order to provide a more believable sense of depth in the scene.

Moving onto your organic forms with contour lines, you're clearly making an effort to maintain the characteristics of simple sausage forms. There are some shortcomings with this, but I am pleased that you appear to be aware of what you should be striving for. The biggest issue with this is that your linework appears to be a little more stiff as you draw the sausage forms. I understand that this can happen since controlling that stroke to achieve the correct curvature can sometimes cause us to slow down (which in turn can introduce hesitation and stiffness). All I can say is this - keep pushing yourself to execute the mark with a confident, hesitation-free stroke, even if you need to draw a little slower. Confident doesn't inherently mean fast, so they're not mutually exclusive - it's just that drawing slower often gives us a grater opportunity to hesitate and attempt to steer our line, rather than relying on our muscle memory.

Your contour ellipses are generally well drawn, although a bit stiff as well - make sure you're applying the ghosting method when drawing these, as it is entirely designed to help us avoid any hesitation at all. You can read more about the mindset that is applied when using the ghosting method in this response to another student. Your contour curves are definitely somewhat smoother, so that does show a capacity to execute marks with greater confidence.

Looking at the degree of your contour lines, they appear to often be either very consistent, or erratic. 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.

The last thing I wanted to point out for this exercise is that if you look at the two sausage forms at the bottom of this page, you'll notice that the contour curves suggest that one tip of each sausage is pointing towards the viewer, but you've placed a contour ellipse on the opposite tip (which the contour curves suggest is pointing away), causing a contradiction. Contour curves are essentially just the part of contour ellipses that are visible - so if a part of a surface is fully pointing towards the viewer, then we'd ostensibly be able to see the whole way around a given contour ellipse. So when we see a contour ellipse, we interpret it as that surface pointing towards the viewer.

To explain the problem more specifically, if you look at the bottom left sausage of that page, you've got the contour ellipse along the left tip, but the contour curves themselves suggest that the right tip is the one pointing towards the viewer. Make sure you think about this sort of thing when drawing your contour lines, and always be aware of what you're describing about the form rather than just putting those marks down without consideration.

Moving onto your texture analyses, you're definitely showing a starting grasp of how the focus of this exercise is entirely on the use of clear shadow shapes, rather than on outlines, and your textures have certainly come out fairly well for that fact. The only one I want to draw attention to is the wood log texture. When trying to turn it into a density gradient, you fell to relying on what essentially amounts to hatching, rather than employing the information from the texture properly. This is totally understandable, since the confusion obviously arose from identifying striations/lines along the surface of your reference image, and so your brain made the connection to hatching lines (a common, more generic technique), but this is actually incorrect.

Reason being, if you analyze a certain part of a piece of wood, you're going to see a certain amount of striations within a given space. The way you utilized hatching effectively made it so there were more striations where the texture was more dense. When we talk about textural density, we're really talking about the amount of ink being used - not the nature of the texture itself, which should remain consistent throughout. We're just changing how we approach drawing it, is all.

The way we do this is by taking the shadow shapes and causing them to grow. So you have the same number of lines/striations, but the lines themselves get thicker and wider, until eventually they merge together into a continuous black mass.

Anyway, texture is something we're just introducing here, and all things considered you've done a great job. We don't expect students to have prior experience with this particular topic, and are really just looking for signs that they're moving in the right direction, which you certainly are. You continue to hold to this throughout your dissections, where you're continuing to develop your observational skills and attention to detail. Some areas are a little more simplified, so you should keep pushing yourself to rely less on memory and avoid situations where you look away from your reference for too long - but all in all, this is coming along well, and improves from the first page to the second.

This critique has definitely gotten long, so I'm going to get through the rest quickly. Your form intersections are very well done. You're constructing the forms such that they feel cohesive and consistent within the same space, and I'm very pleased to see that you're abiding by the whole "stick to equilateral forms" thing. Many students tend to miss this. As far as the intersections themselves go, you've got a great start and are clearly trying to figure them out, which at this point is all I ask of students. This exercise is an introduction to the concept of spatial relationships, a starting point from which we will continue to explore them as the primary focus of the rest of this course.

Your organic intersections are generally well done, in that you're capturing the sense of how they interact with one another in 3D space, rather than as flat shapes stacked on a piece of paper. You're also establishing an illusion of gravity in how they slump and sag against one another. Your linework is however still a little stiff, so make sure you continue applying the ghosting method with each and every one of your marks. You did so quite well in your form intersections, so I suspect you may simply not be applying it as consistently with marks that aren't straight.

All in all, while there are a few things I pointed out for you to continue improving, your work here is well done. I'll go ahead and mark this lesson as complete.