Starting with your arrows, these are looking pretty good and flow very fluidly through 3D space. You're showing a great deal of confidence with your linework here. One thing to watch out for however is that you're doing a good job of applying perspective to the positive space (the width of the ribbon and how it gets narrower as we look farther back) but the negative space - that is, the distances between the zigzagging sections - is not matching it. Remember that perspective applies to all space, causing it to compress as things get farther away from us.

Moving onto your organic forms with contour lines, there are definitely some issues here. As a whole it feels as though you may not be investing quite as much time as you could into each mark you put down, so your overall control ends up being quite loose relative to what I believe you are capable of. Many of your sausage forms get close but don't quite match up with the characteristics outlined here in the instructions (mostly you're ending up with ends that are more stretched rather than properly spherical). You are also running into issues with drawing your contour ellipses such that they fit snugly between the edges of the forms, with a number of them getting quite loose. Drawing through your ellipses is extremely important and I'm glad you're doing it (aside from one of your sausage forms), but they definitely need to be tightened up. Make sure you're applying the ghosting method to your ellipses, as you would to every single mark you put down.

Now, one thing that isn't likely to be caused by simply not taking enough time is that the degree of your contour lines tends to remain very, very consistent. Remember that the degree of our ellipses represents the orientation of that cross-section relative to the viewer, and this is going to change depending on where we're sampling from along the length of the sausage. This means that, as shown here, the degree will get narrower or wider as we slide along the form.

All these points apply to your contour curves as well. As a whole, I think you just need to adjust how you're appyling the ghosting method to your marks, to ensure that you're able to reinforce your confident, smooth executions with proper control and preparation.

Your texture analyses are definitely coming along really quite well. I think overall you're showing a strong tendency towards relying on strong, well designed shadow shapes. There are some places where you're getting into some hatching here and there (which I want you to avoid as a rule when tackling texture - stick only to clear, intentional shadow shapes, no hatching or scribbling), but for the most part what matters to me is that you're moving in the right direction. You are also doing a good job of covering your density gradients, building from light to dark, and observing/studying your reference images carefully.

I think you continue to improve into your dissections, relying more and more on those shadow shapes with very little hatching present (if any). As a whole, you're definitely picking up on these concepts really well, despite the fact that these exercises are merely intended to introduce you to the concepts and challenges.

As a whole, your form intersections are coming along really nicely. I am seeing a few places where you're attempting to correct some mistakes - a bad habit you should definitely shake, as redrawing lines will often pile on more ink in problematic areas and draw the viewer's attention to them - but you're constructing the forms pretty well and are doing so in a manner that feels cohesive and consistent within the same space. While your linework isn't perfect here, it is definitely controlled a lot better than in your organic forms with contour lines exercise.

As you noted yourself, the intersections themselves are meant to be difficult, but it's more than that. It is an introduction to a concept that is at the very core of Drawabox as a whole, and will be tackled again and again throughout the entirety of this course. I'm just having students try their hand at the intersections themselves, which define the relationships between forms in 3D space, so they can start familiarizing themselves with the idea of it. I by no means expect you to be able to handle all your intersections perfectly. That said, you've got a good start.

Lastly, your organic intersections are coming along well. They're definitely demonstrating a good grasp of how those forms interact with one another, and convey the sense of realistic gravity (in how they slump and sag over one another). Your linework here is visibly more timid though - I can see more broken lines in a few places where you're definitely a lot more hesitant, rather than executing your marks with proper confidence. Keep that in mind.

Now, before we mark this lesson as complete, I'd like you to take another swing at the organic forms with contour lines exercises.