Overall, I'm very pleased to see that your line quality has improved a great deal from your lesson 1 work. While there's a touch of hesitation here and there, I think overall it's improved by leaps and bounds.

Starting with your arrows, you're conveying a strong sense of motion with these, pushing how they move fluidly through the world. To continue emphasizing the sense of depth in the scene, one thing to keep in mind is the idea that the distances between the zigzagging sections of your arrows should be compressing as we look farther back in space.

Moving onto your organic forms with contour lines, you're clearly making a considerable effort to stick to the characteristics of simple sausages as mentioned in the instructions. You're also doing a good job of keeping your contour ellipses snugly fitting within the silhouette of the sausages, although in doing so I am noticing some hesitation to your linework. Keep pushing yourself to draw from the shoulder and pushing the confident execution after your use of the ghosting method. That said, it's still coming along quite well, and I don't think you're that far off. Same thing goes for your contour curves as well.

Moving onto the texture analyses, you've cleared the first major hurdle with these nicely - that is leaning hard into the use of cast shadow shapes. There are still some places where you're still relying a bit too much on outlines (specifically the second row) as explained here, and there are also places where you're using loose arbitrary lines rather than shadow shapes (adhering to this two-step mark making process for each and every textural mark you draw can help with that) but as a whole this is moving in the right direction. One last thing to keep in mind however as you continue to move forward with this exercise is the idea that every shadow shape you draw is itself being cast by some specific textural form, and so that shadow shape itself can help describe aspects of those textural forms based on how it's designed. Always keep that in mind - whenever you're drawing such a shape, it's important to be thinking about the specific form that casts it. It's true that the shadows of many different forms can all meld together, but as long as you're striving to keep those relationships between form and shadow in mind, your textures will come through with subtler features that help convey the nature of those surfaces.

While you certainly continue to make progress through the exploration of a variety of textures in your dissections, the same points apply there as well. These two exercises are intended to be an introduction to the concept of texture, and on those grounds your work is coming along very well. There will always be room for improvement and growth, and that will come with continued practice, but as it stands you're off to a very good start.

Moving onto your form intersections, you're doing a very good job of constructing the forms such that they feel cohesive and consistent within the same space, and your linework is looking pretty fantastic. Some of your ellipses get a bit wobbly when they get larger, but all in all this is coming along well - though on one page there you entirely stop drawing through the larger ellipses, and you should absolutely be drawing through each and every one of the ellipse you draw for these lessons. For the intersections, you're off to a good start and I'm glad to see that you've made a considerable effort to start pinning them down. This part of the exercise is meant to be another first introduction, so I'm less focused on whether or not the intersections themselves are correct right now, but more interested in having the students just start trying to delve into that kind of spatial thinking, focusing on how the forms relate to one another in 3D space and how those relationships can be defined on the page.

I do have one point to make however - in the future, don't shade in your intersections as you've done here. There is no reason to stray from how the exercise is done in the demonstration/instructions, and in this case, that hatching only serves to make the drawing more visually confusing. Just focus on drawing the visible portion of the intersection line itself.

Lastly your organic intersections are off to a good start - you've established how the forms interact with one another in 3D space, rather than as a series of flat shapes stacked on a flat page. That said, do try and avoid longer sausages that get a little too limp - focus on those characteristics of simple sausages, and envision them as being more like filled water balloons - flexible enough to curve around the forms beneath them as gravity pushes them downwards, but still stiff enough to maintain some semblance of their own form.

All in all your work is coming along well. I'll go ahead and mark this lesson as complete.