Starting with your arrows, you're drawing them with an excellent sense of flow and fluidity to how they move through the scene itself. You're also showing that you understand that the spacing between your zigzagging sections needs to compress and get smaller as we look farther back, which is great to see, as it helps further convey the sense of depth in the world.

Moving onto your organic forms with contour lines, you're clearly striving to stick to simple sausage forms, though there's one little thing to keep an eye on - the ends of your forms tend to be a little more stretched rather than entirely spherical, so keep an eye on that. Overall though you're doing a good job of keeping your contour curves and ellipses snug within the silhouette of the forms. You're also showing that you understand that the contour lines' degrees shift as we slide along the length of a given form, which is great to see. There is one additional issue that I noticed though - on the contour curves page, you tend to have cases where the contour curve will get narrower and narrower, and then when it starts to widen again, it hasn't reversed as it's supposed to. Here's an example of the reversal I'm talking about.

You've definitely taken the focus on shadow shapes rather than outlines to heart in your texture analyses. I don't see any reliance on line or outline to establish your textural forms, and that's excellent. One issue I am noticing however is a very heavy reliance on stippling as your primary pattern for transitioning from light to dark. Whenever a student shows a propensity for a particular kind of pattern - stippling, hatching, etc - it shows that there is room for improvement in terms of how closely they're observing their reference. The patterns of marks and of light and shadow we use in these texture studies ultimately need to come from the reference itself. Part of the issue may come from the fact that you've really zoomed into these textures a great deal.

Now, in your dissections I feel you take both a step forward in this, and a tiny step back on the front of line/outline. Here you're tackling different textures in a more cast-by-case manner, finding all the marks and shapes within your reference material, rather than using more generic patterns. On the flipside, you're also in some cases relying more on outlining your textural forms, though you're still doing a good job overall, and are still mindful of your shadow shapes in most areas.

Looking at your form intersections, you're doing a pretty good job of constructing the forms consistently and cohesively within the same space. Many of the intersections you've drawn are also coming along well, though there is certainly room for improvement on this front. This is totally normal however - the intersections and the spatial relationships they represent are an introduction to concepts I by no means expect students to be comfortable or familiar with at this point. Instead, it's something we'll continue to explore through the entirety of the course, with this being our first major exposure to the challenges involved.

Lastly, your organic intersections are looking great. You've done a good job of establishing how these forms slump and sag against one another, and have avoided the impression that they're simply flat shapes pasted on top of one another on a flat page.

All in all, your work is coming along well. I'll go ahead and mark this lesson as complete. Keep up the good work.