Starting with your arrows, you're doing a pretty good job of establishing how the arrows flow smoothly and with a sense of fluidity, although as your arrows move further back, you end up hitting a point where you seem to be resistant of compressing the spacing between the zigzagging sections any further. Basically those gaps get smaller, and then bottom out at a minimum distance - like you're hesitant to let them overlap one another. That overlapping is important - it'll help you convey a stronger sense of depth in the scene.

Moving onto your organic forms with contour lines, you've done a pretty good job of sticking to simple sausage forms, although there still are small deviations from the characteristics outlined here. You sometimes have ends of somewhat different sizes, for example, or slight pinching through the midsection. The contour ellipses and curves are largely well drawn however - they're drawn confidently to maintain smooth, even shapes, and the contour curves wrap nicely around the rounded form. The only other issue is that you tend to keep the degree of your contour lines somewhat consistent throughout the length of your forms, 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 think you're off to a great start. You're clearly focusing on implying the presence of textural forms by drawing clear shadow shapes rather than outlining them, which is great to see. One thing I want you to think about as you continue to move forwards however - especially with textures that have a lot of deep cracks in them (like the last one there) is that the light is still going to hit the side of the cracks - right now you're just leaving the top surface of the wood in white, but splitting it up like this (white being the top, black being everything in between) flattens out the texture somewhat. Try and relate the actual shapes you draw in black as being actual cast shadows - not just filling voids in by default. Cast shadows relate directly to the specific form that casts them by blocking the light. If you think about which form casts each shape you draw, you'll be able to sneak in little sections where the light is able to hit one of the side planes, which will give your texture a greater sense of depth.

You continue to do a great job throughout your dissections - you're not falling victim to the tendency to outline forms (even if students do a good job in the texture analyses, they often slip back into outlining in their dissections). Your textures here also tend to show a greater sense of depth and dimension to them, and you're exhibiting excellent observational skills.

Your form intersections are really well done. You've constructed the forms such that they feel cohesive and consistent within the same space, and you're off to a great start with the intersections themselves. These intersections serve only as an introduction or a first exposure so students can start thinking about how the forms they draw relate to one another in 3D space, and how to define those relationships. We'll certainly continue exploring these further throughout the rest of the course, but you're doing great already.

Lastly, your organic intersections are doing a good job of establishing how these forms interact with one another in 3D space, rather than as a series of flat shapes stacked atop one another on a flat page. You're also doing a good job of conveying a sense of gravity in how they slump over one another.

All in all, very nice work. I'll go ahead and mark this lesson as complete.