Starting with your arrows, you're doing a great job of establishing how they flow confidently through space. One thing to keep in mind however is that as we look farther back, the spacing between the zigzagging sections will get smaller due to foreshortening. So be careful when you add big gaps further back, as this can signal that the way in which the arrow is moving might be very irregular, or simply not consistent with how perspective ought to work.

Continuing onto your organic forms with contour lines, your work here is largely very, very well done. You're sticking to sausage forms that reflect the characteristics of simple sausages as mentioned in the instructions and you're drawing your contour lines with confidence and clearly defining how they wrap around the rounded surface of each sausage. Looking at the contour lines themselves, I do get some sense that you appear to understand how the degree of your contour lines ought to shift wider/narrower as we slide along the length of a given sausage form, but I'm not 100% sure that you are actually fully conscious of it. So, I'll explain:

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.

Looking at your work on the texture analysis exercise, I'm largely very pleased with your work here. You've done a good job of focusing purely on cast shadow shapes and using them to control the density in your textures as you move from left to right. You're also showing a good deal of care with your observational skills, picking up on subtle features and details throughout your textures. There is just one suggestion I want to make: right now you're largely painting those shadow shapes on - there's not always a strong sense of control that comes with this approach. Instead, I recommend outlining your actual shadow shapes first with your fineliner, and then filling them in with your brush pen. This will give you much more control over each specific shadow shape, and over the texture as a whole.

You continue to show these strengths and good habits throughout your dissections, and I'm very pleased to see that you haven't slipped back to outlining your textural forms, focusing instead on implicit drawing techniques all the way through. Very well done.

Continuing onto your form intersections, you've done a good job of drawing your forms such that they feel cohesive and consistent, though don't forget that you're not supposed to be including forms that are stretched in one dimension. I'm also pleased to see that you've got a good start on your intersections. This exercise is very much about exposing students to thinking about how their forms relate to one another in 3D space, and how those relationships can be defined on the page. There's no expectation for students to have any prior experience with this stuff, so mistakes are totally normal and expected. It's all about getting students to start to think about this kind of thing, as we continue to explore them throughout the entirety of this course.

Lastly, your organic intersections are looking great. You've clearly established how these forms interact with one another as 3D forms, rather than as a series of flat shapes stacked on a flat page. You're also establishing a strong illusion of gravity in how they slump and sag over one another.

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