Starting with your arrows, you're doing a good job of establishing how they flow smoothly and fluidly through space. There are two issues however that I'd like you to be aware of. First and foremost, your linework - specifically when adding line weight, I believe, is being applied with chicken-scratch. Make sure you apply line weight in individual, distinct marks, all applying the ghosting method. Don't chicken scratch, don't build up tiny little marks as you go.

The second issue is that you appear to be slightly expanding the gaps between the zigzagging sections as we look farther back in space. Instead, due to foreshortening these gaps should be getting narrower and tighter the further back they go, as shown here.

Moving onto the organic forms with contour lines, one thing that stands out a fair bit is that your linework appears to be quite hesitant. There's a lot of more sensitive, rapid shifts in your lines' trajectories that suggest that you're either drawing the marks quite slowly, or more likely drawing them from your wrist rather than your shoulder. This suggests to me that you're perhaps prioritizing the accuracy of your marks over maintaining a smooth, consistent flow. Remember that every mark you draw should be executed using the ghosting method - that means planning and preparing first, so you can execute the mark with confidence, and without hesitation or fear of making a mistake. I explain this a little more in depth in this response to another student.

So while you're clearly thinking in most cases about sticking to the characteristics of simple sausages listed here in the instructions, you're struggling to maintain things like a consistent width through the midsection due to how your linework is coming out. It also makes some of your contour ellipses and most of your contour curves a lot less evenly shaped, which impedes the illusion that they're actually wrapping around a rounded surface. This is something you're definitely going to have to work on a fair bit, as executing your marks with confidence, from your shoulder, really is the most important thing when it comes to mark making.

Continuing onto your texture analyses, I'm actually quite pleased with your work here. You're clearly focusing primarily on the use of cast shadow shapes rather than outlines, and you're using them to control the density of your textures as you move from left to right on those gradients. You haven't quite blended that black bar on the left into the texture seamlessly, especially in the broccoli texture, but you're making good progress.

One small suggestion I have is that you get in the habit of drawing your marks as shown here - that is, outlining your shadow shape first, then filling it in. This will help you avoid the slightly sketchy look of your shadow shapes.

You're also showing that your observational skills are coming along nicely. This continues throughout the dissections, with a lot of experimentation with different textures, pushing your attention to detail much farther. The only issue I want you to be particularly aware of is that you fall into the habit of outlining a lot of your more distinct forms (like scales, feathers, etc.) before worrying about shadow shapes. As explained here, even though it's very difficult, you need to work without outlining the forms, and dive right into shadow shapes right from the get-go. The only outlines you should be working with are those of the shadow shapes themselves, which we always fill in with solid black.

Your form intersections mark a good start. While your linework here is definitely much better than the organic forms with contour lines, and you're certainly applying the ghosting method and drawing from your shoulder here, there are some places where lines you intend to be straight curve a little (like the cylinder in the bottom left of this page). Still, for the most part you're making good headway in constructing these forms such that they feel cohesive and consistent within the same space. I'm also pleased to see that you made plenty of attempts to figure out the intersections between the forms. This is by no means something I expect students to do without struggling quite a bit. Rather than expecting perfection, it's really just about exposing students to a challenge they haven't faced before, and that they have no prior experience in solving. By introducing it to you here, you'll have greater context and awareness of how these forms might relate to one another in 3D space, which is something we'll continue to explore throughout the entirety of this course.

Lastly, your organic intersections are coming along okay. I think you're a bit selective in terms of which forms you decide should be casting shadows on the forms beneath them (all forms should be casting their own shadows, of course), but you are making good progress in establishing how these forms interact with one another in 3D space. You're also building up an illusion of gravity in how they wrap around one another. There's certainly room for improvement here, and when tackling this exercise in the future try and think about them like a pile of water balloons all weighing down on one another.

Before I mark this lesson as complete, I think the organic forms with contour lines exercises should be revisited, so you can try applying what I explained in my critique. Be sure to focus on drawing confidently, using the ghosting method and from the shoulder, and remember those characteristics of 'simple sausages' that each organic form should be following.