Starting with your arrows, you're definitely doing a great job of drawing them such that they flow very confidently through space. You're also pushing the foreshortening a great deal when it comes to the positive space (the arrow itself, which gets larger as it gets nearer to the viewer) but you aren't quite doing the same with the negative space - that is, the gaps between the zigzagging sections. As shown here, be sure to make those gaps get smaller and tighter as we look farther back in space.

Moving onto your organic forms with contour lines, you've largely done a good job of adhering to the characteristics of simple sausages as mentioned in the instructions. There are a few places where one end might get a little deformed, or perhaps come out smaller than the other end, but by and large this is pretty normal and will improve with practice. The simplicity of your forms helps push the illusion of solidity a great deal.

You've also done a great job with drawing the contour lines themselves with confidence, pushing the illusion that they wrap nicely around the forms. On top of that, you're showing a clear understanding of how the degree of your contour lines shift as we slide along the length of a given form, so fantastic work there as well.

Moving onto your texture analyses, you're off to a good start, but there is definitely room for improvement here. I can see that you're trying to move in the direction of working with clearer shadow shapes, but it seems pretty clear that in most of these cases you're first working with lines, and then trying to decide where to make those lines thicker and wider. The key to this exercise really is the use of clearly defined shadow shapes, and the best way to force yourself in that direction is to employ this two-step process, purposely drawing a mark to outline an intended shape, then filling that shape in.

The issue with lines is that they don't have the kind of dynamism and variability that we can get out of shapes. A line can get thicker, sure, but there are limits to that - it's still something that flows in a particular direction. With a shape however, we can push in any number of directions simultaneously, and it's relatively easy to just have a shape grow as we get closer to the left side of our density gradient. You can see the difference between working in line vs. shape in this image (it's clumsy because I cropped it out of a critique I did for another student).

When it comes to the fur texture, you definitely fell a bit into scribbling, rather than trying to look at the fur as a series of forms. Fur and hair will naturally form into groups/tufts which can be treated as singular, solid forms. Those forms cast shadows on their surroundings - and those are where we get the shadow shapes we actually draw.

Moving onto your dissections, I think overall you have shown continued improvement, especially when it comes to observing your reference more clsoely and then carrying that information over into your drawing as you saw it. There's not much scribbling here, or other kinds of randomness - you're working harder to draw what you see, and that's great. One issue I am seeing though is that you are outlining your forms, which locks you into a specific level of density and makes it impossible for you to transition to one that is sparser. These notes go into this common mistake.

Continuing onto your form intersections, for the most part you've done a really good job. Your forms are solid, and your intersections are showing an exceptionally well developing grasp of spatial relationships. This is meant to be an introduction to the intersections, but you're already showing a lot of comfort with it already. I have just one complaint.

Line weight shouldn't be used to replace lines or replace your drawing, as explained here. While you haven't shown the hesitation/wobbling there, and you executed the marks with due confidence to keep them smooth, I still want you to stay away from this kind of approach where you basically end up redrawing everything. Line weight should be focused on specific, limited areas, only to clarify specific overlaps between forms. Your line weight should smoothly transition back into the original stroke, rather than replacing it entirely.

As a rule of thumb, if you were to erase all of your "initial construction" and leave only the line weight you added, you should not be left with a complete, clean drawing. You can read a little more about the kinds of strokes we use to blend our line weight back into the original strokes here, though since you're drawing your lines with a good deal of confidence in most cases, you shouldn't have any issues with that.

Lastly, I'm quite pleased with your organic intersections. You're clearly wrapping your head around how these forms exist together, interacting in 3D space and creating a solid pile impacted by believable gravity. While on the first page your cast shadows are definitely sticking to the silhouette of the forms that cast them (kind of like overly thick line weight), you're doing better in that regard on the second page, where you're allowing those shadows to fall down upon the underlying surfaces more confidently.

All in all your work throughout this lesson is coming along well. There's definitely a lot of room for improvement with your textures, but that is normal and expected. That is something we're merely introducing in this lesson, and with the shift between the texture analyses and your dissections, you're clearly moving in the right direction.

As such, I'll go ahead and mark this lesson as complete.