Alrighty! So starting with your arrows, these flow very confidently across the page, and that's great to see. I'm also seeing some places where you're applying perspective to the spacing between the zigzagging sections - but this is something that can definitely use more exaggeration and be more consistent. As the arrow moves away from you, the space between those zigzagging sections will indeed compress more and more, eventually resulting in overlapping. This will help convey a stronger sense of depth to the scene. Actually, scrolling a further down, you demonstrate a much better grasp of this on your second page, so that's also great.

Moving onto your organic forms with contour lines, the first thing that jumps out at me is that while you're generally fairly close, it does appear that you're not quite following the 'simple sausage' section of the instructions. There are just a few key properties we want to see in our sausages:

1. The ends should be equal in size

2. The ends should be spherical (it's easy to end up with stretched, pointy ends

3. The width of the midsection should remain consistent with no swelling or pinching

These characteristics help keep the sausage form simple, which in turn helps push the illusion that it is a solid form.

Now, you're definitely deemonstrating an understanding of how the degree of these contour ellipses shift over the length of the form, but it's not quite as present in your contour curves, so keep an eye on that as you move forwards.

Moving onto your texture analyses, you've definitely got a good grasp on how we want to focus very heavily on shadows, but you are still very much relying a great deal on outlining each individual textural form first before putting those shadows in. This results in a much more difficult time transitioning from one level of detail density to another, since everything is very closed off. The new demo video for this exercise (released just a few days ago along with this new website) explains this in detail, as does the implicit vs. explicit section of the lesson, which has also been rewritten and has its own video. I strongly recommend that you give the new texture section a read/watch, as I have used a lot of the things I've seen my students struggling with to inform how to better convey the information.

Now, where your texture analyses definitely demonstrated a good deal of careful observation, I do feel that this is somewhat lessened on your dissections. Here the textures appear more simplified and cartoony, which suggests that you spent more time drawing and relying on your memory of what you'd seen, rather than continually returning to your reference to refresh that memory as explained here.

Your work on the form intersections is definitely coming along pretty nicely, with a couple minor points I want to mention:

• I see that you missed the instruction on avoiding forms that are overly stretched in any one dimension, and to stick to forms that are more equilateral. You have a tendency to introduce longer cylinders which go against this recommendation.

• Your line quality is a little hesitant - I can see that the exercise as a whole may have been quite intimidating, and the first thing that goes when a student is faced with something that might feel a little overwhelming are the basics of their markmaking. No matter how complicated the exercise, a line is always just a line, so make sure you're appropriately applying all stages of the ghosting method to every single mark you put down to prepare appropriately, and then execute your mark with confidence.

Aside from that, you are doing a great job of capturing the forms such that they feel consistent and cohesive within the same space. Your intersections are also a good start - this is something you'll continue to improve on, as every lesson from here on in delves into the topic of spatial reasoning from a different angle, and this exercise is an introduction to the concept of grasping of how forms relate to one another in 3D space.

Lastly, your organic intersections are alright - you're doing a decent job of capturing how the forms slump and sag over one another, but I can see a number of places where the relationships between certain forms are ignored (like this one from the second page, where the forms don't really appear to interact in any meaningful way). Additionally, on the first page you've got an especially long sausage that appears to ripple as it passes over other forms. When doing this exercise in the future, maintain more tension in the sausage itself - don't allow it to become limp enough to behave in this manner, treat it more like a filled water balloon.

So! All in all you're doing reasonably well, but do have a number of things to keep in mind as you move forwards. I'll go ahead and mark this lesson as complete.