Starting with your arrows, you're doing a good job of drawing them such that they flow fluidly through space. One thing to keep in mind however is that the gaps between your zigzagging sections ought to tighten up at the same rate as the ribbon itself gets narrower. This is because perspective applies to all things consistently - both to the size of objects, and to the distances between them. Paying more attention to this will help you capture a greater sense of depth.

Moving onto your organic forms with contour lines, you've done a pretty good job in sticking to relatively simple sausages, as described in the instructions. Your ellipses and contour curves are also drawn to be smooth and confident, maintaining even shapes, which is great to see - though you do need to continue working on improving their accuracy, to get them to fit snugly between the edges of the given sausage form without sacrificing that confidence/shape integrity.

Additionally, while I can see some degree shift in certain areas of the contour ellipses page (especially towards the center of the sausages), your contour curves tend to all maintain the same degree throughout. 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.

In your texture analyses, you're clearly moving in the right direction and focusing on the core principles covered in the lesson. Your use of purposely designed shadow shapes instead of outlines is fantastic, and you've really leaned into it in a way that suggests you genuinely understand how they're meant to be used. You've leveraged these shadow shapes, and the flexibility they offer, to cover a greater range of densities, and to transition smoothly between them. You've also demonstrated strong observational skills and attention to detail. This carries over quite well into the dissections as well, although some of these are a bit more simplified (like your octopus texture, which felt a little cartoony, and could also have stood to break past the silhouette more meaningfully.

Moving on, your work on the form intersections is quite solid. The forms are constructed such that they feel cohesive and consistent within the same space, although you probably should have kept your cylinders a bit shorter to stay within the recommendation in the instructions of sticking to forms that are roughly the same size in all three dimensions. This is mainly to avoid further complication from foreshortening, as this exercise is already quite difficult.

You've also got a great start on the intersections themselves, which represent the relationships between our forms, something that we're only intending to introduce here so we can explore the concept further throughout the next several lessons. Spatial relationships are at the core of Drawabox as a whole, so we'll be dealing with them a lot, and will have ample time to further develop your understanding of them. That said, your work here is actually quite well done, so you're starting in a good position.

Lastly, your organic intersections are quite well done. You're capturing the interaction between the forms in three dimensions, rather than just as flat shapes on a page, and you're also doing a good job of establishing the illusion of gravity in how they slump and sag over one another.

All in all, very well done. I'll go ahead and mark this lesson as complete.