I was able to find your lesson 2 work here since you'd submitted it last week to the community.

So! Starting with your arrows, these are drawn with a great deal of confidence and fluidity, and you're doing a great job of exploring the full three dimensions of space. You're also doing a good job of applying perspective to both the positive space (the width of the ribbon) and the negative space (the distances between the zigzagging sections, in how they compress as we look farther back).

Moving onto your organic forms with contour lines, you're largely doing a great job. For the most part you're sticking to simple sausage forms (aside from a couple where the ends are of slightly different sizes, or where you end up with a slight pinch through the midsection), and you're also demonstrating an understanding of how the degree of your contour ellipses shifts naturally along the length of the form to correspond with how that cross-section's orientation changes relative to the viewer.

Same goes for your contour curves - they're wrapping nicely around the sausage forms, and while you're straying a little from these characteristics of a simple sausage, you're still fairly close in most cases.

Now that I've rewritten the texture notes for lesson 2, most students are starting to grasp the importance of shadow shapes over line, and they demonstrate this in their work for this exercise. That said, they frequently still end up relying very heavily on line, and show that they're largely moving in the right direction, but not quite there. Your case is different. You've done an excellent job here of demonstrating a full grasp of relying entirely on shadow shapes, and on how the shadows caught in the deepest cracks last the longest in the face of direct light. You're not using lines or outlines at all, and instead are able to fully control the density of your texture.

There is just one very minor issue - you jump from full black to your middle-density far too quickly. Your thick black bar on the far right is slightly obscured as it bleeds into the shadows of the texture, but it still is fairly visible. Ideally we'd transition a little more gradually from full black, with the shadows starting very deep and starting to shrink down as we move to the left. You've managed the transition to very sparse quite well, it's just the opposite end that isn't quite there. Not that I don't think you're capable of it, based on the control you're demonstrating here.

Your work in the dissections is largely coming along nicely as well, though honestly it's not quite as strong as your texture analyses. This is because in your dissections you seem less willing to delve into full black shapes, and instead rely a lot more on scratchy hatching lines. This may be because of a change in tools (from here up to the middle of your form intersections it looks like you may have been using ballpoint), but either way, the lack of the rich dark shadows does diminish the result somewhat.

Moving onto your form intersections, you're demonstrating both a strong grasp of the focus of this exercise (that is, being able to draw forms that feel consistent and cohesive within the same scene and space), as well as a very well developing grasp of a concept that was only meant to be introduced at this stage. That is of course the intersections themselves, and the underlying grasp of spatial relationships they represent. This is one of the core concepts of Drawabox as a whole, something we'll continue to develop throughout the entirety of the course, but as it stands you're at a considerable advantage that will serve you well through the rest of the lessons.

Lastly, this strong grasp of spatial reasoning is demonstrated very clearly throughout the organic intersections, where you're doing an great job of demonstrating how these forms slump and sag against one another in a manner that emphasizes the fact that they exist together within a 3D world as solid objects with their own clear volumes, rather than as flat shapes pasted on top of one another on a piece of paper.

Your work here is very well done. As such, I'm happy to mark this as complete. Keep it up!

Edit: When fussing over the missing album, I forgot to read through the point you'd raised about form intersections. As I mentioned in my critique, your work here was extremely solid, so it's clear to me that you do understand the relationships between those forms, even if it's on a more subconscious level. At its core, the explanation here - that the intersection lines are simply contour lines that run along the surface of both forms simultaneously (and no point of that given line ever exists on the surface of just one form) is all there really is, but the principle can be difficult to grasp initially. I by no means expect students to be able to understand it at this stage, and this is intentional. By introducing the concept here, it gives students something to ponder as they move into the constructional drawing lessons where these skills are continually tested over and over, allowing that understanding to flower.

But of course, you are demonstrating a strong grasp of that already, so it may simply be a matter of developing more confidence in what you already know.

It looks like you submitted an album of your Lesson 1 work. Can you provide a link to your Lesson 2 work in a reply to this comment?