It definitely shows that you didn't let go of those warmups/exercises - I'd looked at your work before reading your submission comment, and I honestly couldn't tell that it had been a while since your last submission.

Starting with your organic forms with contour lines, these are for the most part coming along well, though while you're clearly conscious of trying to adhere to the characteristics of simple sausages, there's still some room for improvement here (specifically in ensuring that the ends are equal in size, and circular in shape rather than getting stretched out). Either way, these are moving in the right direction, and the contour lines are looking good.

Continuing onto your insect constructions, you have for the most part here done a fantastic job. Your constructions feel solid and three dimensional, and you are holding well to the core principles of building up from simple to complex, and on really thinking about how all of these simple forms fit together with one another in 3D space. There are a couple issues I'll call out, but as a whole I'm really pleased with the way you're progressing, and I can see your spatial reasoning skills developing very well throughout the set.

The first thing I want to call out is an issue that comes up in little ways here and there, and while it manifests in minimal ways throughout your work, it is conceptually very important to the core of this course. Basically, it's a matter of ensuring that whenever we act upon our construction (that is, whenever we build upon something, or alter it), that we always work in 3D space, thinking about how the things we're drawing exist within those three dimensions, rather than thinking more in terms of interacting with a flat, two dimensional drawing. Drawing in 2D gives us a lot of freedom, but it's that freedom which can lead to us undermining the solidity of our construction, and its three dimensional nature, without realizing it.

One way in which this can happen, is when we take a form we've already constructed, and modify its silhouette. For example, on this ant's abdomen it looks like you noticed you need a little more of a bump along the top, so you took the silhouette of the mass you'd drawn previously, and extended it out further to achieve the desired result. Unfortunately, silhouettes themselves are just 2D shapes which represent the 3D forms we're working with. Modifying the silhouette doesn't actually change the form it represents - rather this simply breaks the connection and leaves us with a flat shape (or at least, that's a common thing that can occur as a result, it's not actually quite so cut and dry). You can see this idea demonstrated here - it's most easily seen when we cut into the silhouette of a form, but it occurs with any sort of alteration in 2D space.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

You can see this in practice in this beetle horn demo, as well as in this ant head demo.

The other point I wanted to call out is that I noticed that you seem to have employed a lot of different strategies for capturing the legs of your insects. It's not uncommon for students to be aware of the sausage method as introduced here, but to decide that the legs they're looking at don't actually seem to look like a chain of sausages, so they use some other strategy. The key to keep in mind here is that the sausage method is not about capturing the legs precisely as they are - it is about laying in a base structure or armature that captures both the solidity and the gestural flow of a limb in equal measure, where the majority of other techniques lean too far to one side, either looking solid and stiff or gestural but flat.

Once in place, we can then build on top of this base structure with more additional forms as shown here, here, in this ant leg, and even here in the context of a dog's leg (because this technique is still to be used throughout the next lesson as well).

To be fair, I've seen you employing this to an extent, but there are often pieces missing - like that contour line we add at the joint between sausage segments, or outright deviating from the characteristics of simple sausages - or when you build upon the existing structure, you fall into the whole "working in 2D space" thing. The techniques I've shared here all align pretty well to the idea of introducing new, complete, solid forms defining the way in which they relate to the existing structure.

Anyway, aside from that you're doing very well, and the issues I've called out are all things you can address in the next lesson. So, I'll go ahead and mark this one as complete!