Alrighty! Starting with your arrows, these are definitely flowing very nicely, and you've drawn them with a nice fluid, confident motion. I am noticing that a lot of your arrows have the impression of moving more across the surface of the page rather than through the depth of the scene, however. On your first page you tended to keep all the perspective fairly shallow - you improved upon this in your second page by varying the width of the ribbon as it moves back in space, but you're not applying perspective's compression of space as consistently to the distances between the zigzagging sections. Those gaps should also be compressing, reflecting the same application of perspective as the positive space (the ribbons themselves). This will lead to more overlapping between those sections as we look farther back, and will sell a much stronger impression of depth in the scene.

Moving onto your organic forms with contour lines, you've done a good job of sticking to the simple sausage characteristics I outlined in the instructions. You're also doing a pretty good job of keeping the contour ellipses and contour curves snug between the edges of the sausage form's silhouette.

There are a few areas where these could be improved, however. Your contour ellipses are generally drawn with some hesitation - as a result, there's less confidence driving the stroke and the ellipses come out somewhat unevenly shaped. Remember that these marks, as with all marks, should be drawn using the ghosting method. This means that the last phase of the process - the execution of the mark - should be done without hesitation. Any opportunity to avoid a mistake at this stage in terms of accuracy has passed, so all you can really do is push it out with confidence.

Additionally, the degree of your ellipses doesn't seem to reflect the natural shift we should be seeing along the length of the form. The degree (width) of each contour ellipse or curve basically represents its orientation in space relative to the viewer. The narrower the degree, the more that circular cross-section is turned away from the viewer, the wider the degree the more it is turned towards the viewer. At any point along a given form, those cross-sections will have a different orientation in relation to the direction the viewer is looking. This means that, as shown here, those degrees are going to get narrower or wider as we slide along the length of the form.

I noticed that in your contour ellipses, you were including smaller contour ellipses at the tips of the forms. This is good to see - but the issue is that these were missing from your contour curve exercises. You may have thought that since these are full ellipses that they should not have been drawn here, but that is not the case. The difference between the contour curves and contour ellipses portions of the exercise is that we're effectively drawing the same thing, it's just that in the contour ellipses portion we're doing so as though we have "x-ray vision", being able to see through the forms and perceive the lines as they wrap all the way around the form.

Since the contour curves portion instead focuses on what we can see with normal vision, if the tip of a sausage form is facing the viewer, then we'd generally be able to see the full contour line all the way around, as shown here. You'll notice that the tip on the far right side has a full ellipse, because we'd reasonably be able to see the entirety of that surface, and the line that wraps around it.

Lastly, I noticed that with your contour curves, you frequently had some trouble aligning your contour curves to the central minor axis line, as your curves had a tendency to come out more slanted - especially when the sausage form was turning. This is definitely something to focus on when doing this exercise in the future.

Moving onto the texture analyses, you've got a pretty good start, but there's definitely still a very heavy reliance on working with line rather than shape. Now, your observational skills are coming along great - you're demonstrating a lot of attention to detail, and a keen eye for perceiving the various different bits of form information that is present at a very micro-level of your textures. Ultimately, what you need to continue working on doing is not thinking about capturing all of that information by using simple lines and outlines.

The difference between a line and a shape is that a line is, aside from some minimal weight variation, is going to remain pretty consistent and uniform in its thickness. A shape, on the other hand, is far more flexible. A shape can get very skinny in places (similar to a line), but it can expand however it needs to, becoming very wide suddenly, and extending in whatever different directions it needs to. A shape's variation exists in two dimensions, whereas a line's variation exists only in one.

Line itself does not exist in the real world - the things we perceive as line are usually a shadow being cast from one thing onto another, or at least a similar element of lighting, and these all exist as shapes even if they appear to be quite narrow and skinny. The difference comes down to how you think about them. When drawing a shape, it's more effective to actually outline the shape, then fill it in. When drawing a line, you're really just going to draw a line and be done with it.

So, long story short - you need to entirely stop yourself from using any line whatsoever in these exercises, and to think about your textures in terms of the actual 3D forms that exist along the surface of these objects. From there, consider the shapes individually and the kind of shadows they'll cast along their surroundings. Your reference image will help you with much of this, but you cannot simply draw exactly what you see - you need to be able to understand how it exists in space as well.

Looking at the longer rectangle section in each row in your texture analysis exercise, notice how you have the black bar on the left that is entirely visible and distinguishable from the texture you've drawn to its right? This black bar, when this exercise is done correctly, should be seamlessly integrated into the texture you've drawn. That means you should not be able to identify where that black bar ends, and where the texture begins. Reason being, this part of the exercise is to take the information from your reference image and to use it to be able to create a gradient from full black to full white, smoothly transitioning from one to the other with no sudden jumps.

Now, your dissections are showing definite growth - I'm seeing a greater tendency to rely more on shadows, though you've still got a mix throughout. You also do have some cases where you're using erratic scribbling as an approach for capturing a texture, which as explained here is not something you should be doing when capturing texture. Your marks should be intentional, and specifically informed by things you see in your reference, essentially transferring that visual information bit by bit.

Looking at your form intersections, there are a couple concerns that stand out to me. Most of these are, I think, due to the amount of time since you submitted the 250 box challenge - meaning that you've likely had pretty significant gaps in your practice, and you may well have forgotten a number of concepts, techniques, etc along the way. This sort of thing happens, but it does need to be corrected.

First and foremost, your line quality is visibly shaky and hesitant, and I'm not seeing signs that you're employing the ghosting method for these marks. This means you're likely executing the marks more slowly, and not confidently and free from hesitation. You mentioned that you'd do exercises from Lesson 1 as occasional warmups - I think this needs to be expanded upon, as you should be doing those warmups for 10-15 minutes at the beginning of each sitting.

Secondly, your box constructions are a bit erratic. The convergences between your sets of parallel lines are pretty inconsistent, and if we were to apply the line extensions (like in the 250 box challenge) to these, you'd see that many of them would be pretty much all over the place. The key thing to keep in mind is that whenever you're drawing any one line in a box, you need to be thinking of only the other three lines to which it will be running parallel. These lines may not have all been drawn yet, but you need to consider how you're going to orient this one stroke such that it converges with the other at a single, shared vanishing point. Don't think about any other lines, don't think about the back corner of the box (which many people fixate on since it is the most notable and most visible symptom of bad convergences). Think only about converging those lines consistently. Of course, use of the ghosting method helps with this.

Thirdly, I did mention in the instructions for this exercise that you should avoid forms that are overly stretched in any one dimension (like longer cylinders), and stick to those that are roughly equilateral (the same size in all three dimensions). This is simply to avoid bringing further foreshortening difficulties into an exercise that is already challenging on its own.

I'm glad to see that you tried to tackle the actual intersections between the forms. This is not a major focus of the exercise, but it is something I want students to attempt simply because it serves as an introduction to the concept of spatial relationships, which is (as explained in Lesson 0) a major element within this course as a whole. We'll continue exploring this throughout the later lessons, but having it introduced now - even though students generally are not going to be able to apply them correctly - will help us to continue thinking about it as we move forwards.

Lastly, your organic intersections are looking pretty good. You're doing a good job of wrapping the forms around one another, having them interact in 3D space, rather than just as flat shapes pasted on top of one another on a flat page. One point of critique however - you've gone pretty heavy with line weight here. Line weight should generally not be applied so thickly, as it quickly turns our forms into a flattened, graphic shape. Line weight should be subtle, because our subconscious is able to pick up on fairly minimal relative changes between the thickness of lines. We don't need to be shouting at the viewer's conscious brain - just whispering slight alterations into their subconscious.

Usually when students go a bit too heavy with line weight it suggests that they may be confusing line weight with cast shadows. The difference is that line weight clings to the silhouette of the form itself, whereas a cast shadow is projected onto another surface different from the form itself, so you won't see it going all the way around that form's silhouette.

All in all, I think there are a handful of areas where I think it would be best for you to have another opportunity to demonstrate your understanding of the material, so I'm going to assign a few additional pages below.