Starting with your arrows, these are coming along quite nicely. They flow smoothly and confidently through space - though I am noticing the tendency to try and mix little mistakes and slip-ups by thickening the line weight in that area in a few places. In general, it's best to leave your mistakes alone, as attempting to correct them will just pile more ink onto the problematic area, drawing attention to it.

Continuing onto your organic forms with contour lines, I noticed some inconsistency in adhering to the characteristics of simple sausage forms. It's really important that you stick to forms that are basically two equally sized spheres connected by a tube of consistent width, as this helps maintain their simplicity, which in turn helps them appear solid and three dimensional. It will continue to be especially important when we leverage these kinds of forms as building blocks of our later constructions.

Your contour lines are largely well drawn - you're maintaining smooth, even shapes and wrapping them confidently around these rounded forms' surfaces. One other thing I did notice however is that your contour lines tend to be drawn at roughly consistent degrees/widths, which isn't actually correct. 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, I'm quite pleased with how you've approached this. You've shown a good focus on the primary concepts covered in the lesson - you're clearly sticking to purposefully drawn shadow shapes that imply the presence of three dimensional forms along those surfaces, and you're not getting caught up in outlining your forms. You continue to adhere to this for the most part throughout your dissections, and even in textures that students commonly fall back into outlining their forms (like scales), you continue to focus on cast shadows. One thing I would recommend here however is to draw the sausages much bigger, so as to give yourself more room to work through those textures. You've done a pretty good job considering how little room you had to maneuver, but increasing that space will certainly help make the exercise more valuable.

Looking at your form intersections, you're doing a pretty good job of drawing these forms such that they feel cohesive and consistent within the same space. You did apparently miss or forget the instruction to avoid forms that are more stretched in one dimension and to stick to those that are roughly the same size in all three dimensions, though. This was specifically to avoid the added complication from foreshortening, as this exercise is already quite difficult.

I did notice that you didn't attempt the intersections as much as you should have though. They're present in a few pages, though there are plenty of places where you didn't make any attempts to determine how the forms relate to one another in 3D space. It's understandable that this aspect of the exercise is intimidating, but the point is not for you to do perfect, or even good work on that front. It's to expose you to a difficult problem, and to get you to start thinking about how those relationships exist between these forms, and how they can be defined. Thinking about it now helps provide a basis and context as we continue to explore this matter throughout the rest of the course. Again - it's not about doing it well. It's about making the attempt.

Usually I'd assign additional pages, but I feel that since you did try it on a couple pages, if minimally, I will let it slide this time. In the future, when asked to do something you're not ready for, throw yourself into it anyway. At no point do we expect you to be able to do anything perfectly, so don't let that fear of making a mistake hold you back from trying.

Lastly, your organic intersections are coming along well, though that first page is definitely very small, and actually suffers from it. Drawing smaller impedes your brain's ability to think through spatial problems, especially earlier on. For this reasons, students who tend to draw things much smaller out of a lack of confidence will frequently end up making things more difficult for themselves, and needlessly so. Your second page really proves this, as that second set is considerably more successful in establishing how those forms interact with one another in 3D space and in establishing an illusion of gravity from how they slump over one another.

All in all, your work is coming along well. You have a few things to keep in mind, but I will go ahead and mark this lesson as complete.