Starting with your arrows, these are definitely doing a great job of flowing smoothly and confidently through space. You're also, to a point, capturing how the gaps between your zigzagging sections are subject to proper foreshortening, although this can certainly be exaggerated by tightening up the gaps more and more as we look farther back in space to better demonstrate a sense of depth in the scene. I also noticed that in a few places (like the top left arrow on the first page) you ended up with some choppier, scratchier linework. I imagine this relates to the issue you raised in your post, about struggling to add line weight.

You're right that the key is to execute your marks with confidence. That doesn't guarantee that they'll hit the mark (yes, that does improve with practice), but actively breakign your strokes into shorter segments isn't really doing you any favours in this case. Instead, drawing those strokes confidently will help taper your lines, making them appear more naturally and helping them blend back into the original stroke as shown here.

Continuing onto your organic forms with contour lines, your sausages clearly capture the characteristics of simple sausage forms as mentioned in the instructions. You're also doing a pretty good job of drawing your contour lines confidently, although a few of the ellipses get a little bit hesitant in places. This is mostly resolved as you work through the set however.

One thing I did notice is that the degree of your contour lines tends to remain consistent over the length of a given sausage. 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, these are quite well done. You appear to be eager to jump into those clearly defined shadow shapes, and don't seem to rely on basic lines at all, which is great to see. You're also using the shadow shapes effectively to capture the shift in density from left to right. The only issue I noticed was in your last row, where you end up still having a pretty noticeable jump from the solid bar of black into your texture, whereas in the other two rows the edge of that bar is not so easily identified (since it blends seamlessly into the texture).

You continue to do well throughout the dissections, although here you are more susceptible to relying on outlining your textural forms first, instead of relying as readily on those shadow shapes. This is a common issue that you'll find explained here. Just remember that even when you're applying texture to a three dimensional form, you should still be capturing it only through the shadows cast by the textural forms. Don't use outlines, except when the texture breaks past the parent form's own silhouette.

Looking at your form intersections, your work here is largely well done. You've done a good job of constructing your forms such that they feel cohesive and consistent within the same space, although do remember that you're discouraged from adding forms that are stretched in any one dimension, like longer cylinders.

You've got an excellent start on the intersections as well. Now, in this exercise I don't really consider whether or not the intersections themselves are drawn correctly - it's a complicated concept to which students are only being introduced here. My only interest is whether students are willing to jump into the deep end of the pool and take a shot, or if they're too timid and hesitant. I'm pleased to see that you jumped into those intersections confidently. This is something we'll continue to explore throughout the entirety of this course, just know that you're off to a good start.

Lastly, your organic intersections are similarly looking good. You've done a great job of capturing how the forms interact with one another in 3D space, and have also captured a strong illusion of gravity in how they slump and sag over one another. I'm also pleased to see that you're once again sticking to simple sausage forms, as this helps establish the forms' solidity.

All in all, your work throughout this lesson has gone well. I'll go ahead and mark this lesson as complete.