Starting with your arrows, you're doing a great job of having these flow fluidly and energetically through space. You're also demonstrating a good grasp of how perspective applies to both the width of the ribbon, which gets narrower as it moves back in space, as well as to the negative space (the distances between the zigzagging sections, getting tighter further back).

Your organic forms with contour ellipses are generally looking good. You're clearly focusing on maintaining simple sausage forms, and are mostly doing well with that. You do end up with some cases on the contour curves page however where the ends of your sausages are of different sizes, or are more stretched out instead of properly circular/spherical. Continue to keep an eye on that.

Your contour ellipses are well drawn - they're smooth and confidently executed, maintaining an even shape, and you're showing a good grasp of how the degree shifts from cross-section to cross-section. This is actually something you lose out on with your contour curves - their degrees end up being much more consistent, which ends up appearing more stiff. Definitely keep that in mind when moving forwards - it's possible that in focusing on wrapping those curves around the sausage forms, you forgot to keep their degrees in mind as well.

Moving onto your texture analyses, you've got a good start on focusing on in clear shadow shapes rather than outlining textural forms, and you're also demonstrating excellent observational skills. One thing I do want to draw your attention to however is that with the bricks and tree trunk, what you're doing here is filling in the negative space - the cracks between forms. That technically isn't what we're after here. What we want to do is try to establish a relationship between the shadow shape itself, and the textural form that is casting it. In the case of the brick wall, one shadow may be cast by a brick - and therefore the shape of the shadow is specifically related to the brick itself, and how it sits in space. If we end up just filling the gaps in by default, we actually neglect to maintain any such relationship - we miss areas where the light might shine on the side plane of a given brick, and instead make everything flatten out. It's a common approach for beginners getting used to thinking with shadow shapes, but a lot more can be done to imply 3D form even when just working with shadow shapes.

I think you continue to demonstrate improvement on this front throughout your dissections - you're doing a great job of studying many different textures and avoiding the tendency to outline textural forms. Very nicely done.

Continuing on, your work on the form intersections is very well done. You've constructed the forms such that they feel consistent and cohesive within the same space, and you're clearly mindful of applying the ghosting method to your linework to keep it all confident and smooth, resulting in stronger, more solid forms. When it comes to the intersections themselves you've got a great start - there's certainly room for growth, but that's totally expected and normal. At this point we're just introducing the concept, and we will be exploring it much further throughout the rest of this course, with spatial relationships being a particular focus of Drawabox as a whole.

Lastly, your organic intersections do a good job of establishing how these forms interact together in 3D space. In addition to this, your second page does a great job of establishing the illusion of gravity in how the forms slump and sag over one another. The first page is a little weaker in this regard, specifically because you've got some gaps between the higher forms, giving the impression that they're floating instead of weighing down on one another.

All in all, your work here is really well done. I'll go ahead and mark this lesson as complete.