Starting with your arrows, you're doing a pretty good job at drawing these such that they capture a sense of movement and fluidity as they flow through 3D space. You're also doing a pretty good job, especially improving as you move into your second page, at demonstrating how perspective applies both to the ribbon itself (how it gets narrower as it moves farther away) as well as to the distances between the zigzagging sections. This regard for the negative space is great to see.

Moving onto your organic forms with contour lines, it does seem like you're putting effort into abiding by the instructions to stick to simple sausage forms, though this can definitely see additional improvement. Specifically, you've got cases that continue to get wider through their midsection, or that pinch in between (instead of maintaining a consistent width throughout their length). You've also got some that have ends that are not spherical/circular, and instead get more stretched out. This is particularly important, so be sure to continue keeping an eye on it.

Your contour ellipses do a good job of remaining snug between the edges of the sausage forms, though they are a little stiff (these are both for the same reason - you're prioritizing accuracy slightly above flow, though you should definitely focus most of all on achieving a smooth, even shape by executing the mark confidently). Make sure you apply the ghosting method to each and every mark you draw - the technique is designed to allow you to execute your marks without hesitation, guilt or fear of making a mistake, as I explain here to another student.

Your contour curves are largely showing the same issues, though I'm glad to see that they're wrapping around the forms quite well. One other point to raise about both variations of this exercise - watch the degree you use when drawing each contour line. 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.

Moving onto your texture analyses, you're clearly making an effort to work more with shadow shapes than outlining your textural forms, but there is a lot of room for improvement here. Most specifically we can see how in the second row, you clearly attempted to change the density of your textures moving left to right, which is good, but because you outlined each and every plate individually, you had no option but to make the scales themselves larger in order to make the texture less dense. Instead, by focusing only on the shadows cast by those forms and not on drawing each one explicitly, we can reduce the amount of ink we need to put down as we move from left to right while not changing the nature of the texture being represented. This is explained here, as well as in this section about implicit and explicit texture drawing techniques.

In addition to this, as you continue practicing, pay special attention to your tendency to rely on memory when drawing texture. Based on your work, it appears that you may spend a lot of time looking at your reference, but then you look away for equally long periods of time, drawing what you remember seeing. Because our brain is designed to simplify what we see and throw out large amounts of information the moment we look away, we cannot rely on our memory. Instead we have to make a habit of looking at our reference almost constantly, looking away only long enough to draw a very specific shadow shape before looking back. We have to focus in on a specific textural form at a time, think about how it sits in space and how it relates to the surfaces around it, capture that little bit of information, and then go back to refresh our memory.

These principles apply to your dissections as well, though I think you've certainly demonstrated an improvement in your overall observational skills, and your attention to detail. Overall, I can see that you're moving in the right direction, and you're making clear progress. You do still struggle when it comes to achieving the transition from dense to sparse and vice versa however, but this will improve with practice.

Moving onto your form intersections, you're doing a pretty good job. You're clearly employing the ghosting method when drawing your straight lines, and while your larger ellipses and circles definitely show more hesitation, they are notably more difficult. Just make sure you're applying the ghosting method with each and every mark you draw. Also, as shown on the diagram in this section, make sure you draw your cylinders around a central minor axis line to help align your ellipses correctly.

Most importantly, you're constructing your forms such that they feel reasonably consistent and cohesive with one another in space. When it comes to the intersections, I really mean it when I say that all I ask is for an attempt. I don't expect students to have any prior experience with this, and it is a challenging concept we're just introducing here. We'll continue to explore it extensively through the next several lessons, as this concept of understanding the spatial relationships between your forms is a critical principle behind drawabox as a whole, and is basically what this whole course exists to teach you. So not being comfortable with it now is totally normal. That said, I do see some progress as you move through these pages. There's still plenty of room for improvement, but it's coming along well.

Lastly, your organic intersections are coming along well. You're doing a good job of establishing how those forms interact with one another in 3D space, and you're capturing a good impression of gravity in how they slump and sag over one another. There are a few little hiccups with your cast shadows (like how the biggest sausage on the second page lays across the bottom sausage isn't believable), but all in all you're showing solid work.

So! I'll go ahead and mark this lesson as complete.