Starting with your arrows, these are definitely drawn with an excellent sense of fluidity and confidence to them. The only thing I want you to pay more attention to is the application of foreshortening to the gaps between your zigzagging sections, as shown here to help better convey the depth in the scene. That said, I do feel this is something that you improve upon into the second page, although it's still something to keep in mind.

Moving onto the organic forms with contour lines, what catches my eye first is that while there are definitely cases where you do a pretty great job of sticking to the characteristics of simple sausages as mentioned in the instructions, it's somewhat inconsistent. Sometimnes you're maintaining those equally sized spheres connected by tubes of consistent widths, whereas other times there's ends of different sizes, or ends that get stretched out and pointy. It's understandable that this can be difficult to control, but just make sure that you understand what you should be intending to draw, and the rest will come with practice.

Aside from that, your contour lines are generally being drawn quite well. Just remember that the degree of both the contour lines and contour ellipses should not be consistent/the same throughout the full length of a given form. 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.

Continuing onto the texture analysis, you've got a good start on this, in that you're focusing heavily on the use of clearly defined shapes, which really is the first big step for understanding how to think about texture. You're also leveraging those shapes to control the density of your gradient as you shift from left to right.

Now the key issue is that at least for now, your texture gradients feel very flat. The thing to remember is that each of these filled black shapes are meant to be shadows - that means that they are cast by the actual forms that make up the textures, and are not simply patterns laid flat along the surface of an object. Each form casts a shadow, and that shadow in turn implies the presence of the form. With no other outline in place to tell us that the form is there, all we can rely upon is the shadow itself. And while these shadows can merge together with one another to create large swathes of solid black, it's the edges of those large areas and the way they're specifically carved that give us the visual information to understand what fills in the space, what actually covers the surface of this object.

Right now it seems to me that you're kind of skipping the 3D side of things - you may be seeing shapes in your reference images, or seeing the shadow shapes themselves, but there's no relationship being forged with the forms themselves. You're not taking the time to actually think about what forms are casting these shadows. That's fine for now, that's the next step for you to explore - but when tackling this kind of thing in the future I want you to follow this step:

• Identify a form in your reference image, or identify a shadow and through that shadow find the form that is creating it.

• In your mind, transfer that form into your drawing and think about what kind of shadow it would cast on its surroundings. This shadow will convey information about the relationship between that form and the surface upon which the shadow is being cast.

• Draw that shadow on your drawing, taking into consideration what other surfaces it's being cast upon. If you're drawing scales, the shadow's probably going to go on another scale, and therefore will wrap around its curving surface.

So, right now your textures are admittedly quite oversimplified and don't accurately reflect the three dimensional form information in your reference, but you are off to a good start. The biggest hurdle for people is always to get them to think in bolder shadow shapes, so you've crossed that.

In your dissections, you're definitely thinking more about the actual forms that are present, but this kind of pushes you in the direction of outlining those forms. Now, this is the obvious strategy - outlining them on the page allows us to better understand where they are, so we can then add shadows after the fact. This issue is explained in greater depth here, but all in all you are moving in the right direction throughout this exercise.

The only thing I want to warn you against is how in your slime and buttermilk biscuit textures, you got WAY too heavy on the line weight. Anything that goes around the silhouette of a form is line weight, anything that the form casts onto a different form's surface is a cast shadow. Line weight always has to be subtle - it's just a matter of introducing a very subtle shift in thickness that the viewer's subconscious will pick up on. Cast shadow can be as heavy as you want, but it needs to fall on a surface, so you can't have these really thick shapes wrapping around a form's silhouette.

Continuing onto your form intersections, you've done a very good job of drawing with clear, concise line quality to construct these forms such that they feel cohesive and consistent within the same space. You've also got an excellent start on the intersections themselves, which are really just meant to be an introduction at this point. That said, you're doing a good job of demonstrating a well developing understanding of the relationships between these forms as they exist in 3D space.

Finally, your organic intersections are looking good - you're doing a great job of establishing how they interact with one another in 3D space, and have developed a strong illusion of gravity in how they slump and sag over one another. The only thing I want to warn you against is the same thing as before - watch your overly-thick line weight. Keep it subtle. Here it's not as bad, but it is getting into that territory.

So! All in all you're doing fairly well, and while there is room for growth (as is always expected) you've nailed down all of the core elements. I'll go ahead and mark this lesson as complete.