Starting with your arrows, you've done a great job of capturing these with a strong impression of fluidity and confidence. One thing to keep an eye on however is that the spacing between the zigzagging sections, just like the arrow itself, is subject to foreshortening and therefore should get narrower and tighter as we look farther back. You can see this demonstrated here.

Continuing onto your organic forms with contour lines, you've done a pretty great job of focusing on the use of simple sausage forms as mentioned in the instructions. The contour ellipses themselves are fairly well drawn. There is definitely more practice to be done on getting them to fit snugly against the silhouette of the sausage, as they tend to be a bit small, but they're drawn with confidence and aside from that they and the contour curves have the proper curvature to wrap around the rounded surfaces. I can see that you employed a degree shift in the bottom left corner of your contour ellipse page (number 9 specifically), but this was missing in the rest of the contour ellipse sausages and in a number of those with the contour curves. Remember that the degree of these contour lines represents the cross-sectional slice's orientation in space relative to the orientation of the viewer, and it should get wider/narrower as we slide along the form, depending on whether we're sliding farther from the viewer or closer.

Continuing onto your texture analyses, your work here is stellar. You did a great job of focusing on clearly designed shadow shapes which convincingly imply the presence of actual forms in your textures. You also leveraged them to effectively cover a full gradient of density, blending seamlessly into the solid black bars on the left. This, along with a keen eye for detail carries over quite well into your dissections where you've explored a number of different textures. My only concern is with the cracked desert floor where it came out extremely flat entirely because you ended up filling in the gaps between the dried mud with solid black, rather than continuing to use the black shapes for cast shadows. This is a common mistake that I don't see you employing elsewhere - basically avoid any situation where you end up wanting to fill spaces/voids with black. There are some cases where it's valid, like in the weathered/porous rock, but here you handled it much better because you allowed the light to hit the side planes of those holes, rather than splitting it into a simple distinction between positive/negative space.

Looking at your form intersections, you've done a pretty solid job at constructing the forms such that they feel cohesive and consistent within the same space. That is the primary focus of this exercise - the intersections themselves, with which you've got a great start, are a secondary concern that serve primarily as an introduction to the idea of thinking about the relationships between our forms in space and how those relationships can be established on the page. We don't worry about whether or not the intersections are correct - we just want students to make the attempts so the wheels in your head can start turning to that effect. Developing this awareness of this whole way of thinking about those relationships ensures that as we continue exploring this concept in a variety of ways throughout the rest of this course, you'll continue developing that understanding and skill.

Lastly, your organic intersections are coming along quite well - you're establishing how they interact with one another in 3D space rather than as flat shapes stacked on a flat page, and you're developing a believable illusion of gravity in how they slump and sag over one another. I have just one point to mention - you should be drawing each and every sausage form in its entirety, not letting them stop where they hide behind another. This helps us understand how they each exist in space on their own, which is critical to understanding how they relate to one another.

All in all your work is fantastic. I can see that you have a tendency to be overly self-critical and perhaps a bit sensitive to the idea of making mistakes, but it's good to see that you push forward regardless. As you continue to do this, forcing yourself to plod onwards regardless of that fear, you will find that fear abate more and more. In the mean time, you can trust that I will point out the issues I believe to be relevant and important within the context of this course. That's the biggest benefit to receiving feedback - we ourselves are prone to getting distracted by issues that aren't necessarily all that important to begin with, in the grand scheme of what we're meant to be learning.

So! I'll go ahead and mark this lesson as complete.