Starting with your organic forms with contour curves, it does appear that in a general sense you are keeping these sausages fairly simple, but there is definitely still some deviation from the characteristics of simple sausages outlined in the instructions. Most specifically, avoid the tendency to make the ends of your sausages either different sizes, or more stretched out and elliptical in shape (rather than circular). Additionally, I'm noticing that you're tending to shift your contour curves' degrees wider as they get closer to the viewer - that is unfortunately backwards. As explained here in Lesson 1, the contour curves should be getting wider as they move farther from the viewer.

Looking over your insect constructions, there's a lot you're doing quite well here, especially when it comes to drawing the segmentation such that it wraps around the existing structures - effectively reinforcing their 3D nature in the way a contour line would. That said, I am noticing a number of places where you do take some small shortcuts - actions that occur in 2D space, effectively manipulating the shapes there on the page, rather than defining structures that exist in three dimensions - that threaten to flatten out some of your forms.

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

We can see some - admittedly small, but still notable - examples of this marked out here, in red where you're cutting into the initial thorax mass, and in blue where you're extending off the head mass's silhouette. For the thorax, it's clear that you ended up with a looser ellipse and decided to treat its inner perimeter as the edge of its silhouette. Unfortunately, this still leaves linework floating outside of it, so it's generally better to treat the outermost perimeter as the form's edge, which otherwise keeps the stray marks contained within the silhouette.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure - forms with their own fully self-enclosed silhouettes - 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.

This is all part of accepting that everything we draw is 3D, and therefore needs to be treated as such in order for the viewer to believe in that lie.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. You can also see some good examples of this in the lobster and shrimp demos on the informal demos page. As I've been pushing this concept more recently, it hasn't been fully integrated into the lesson material yet (it will be when the overhaul reaches Lesson 4). Until then, those submitting for official critiques basically get a preview of what is to come.

Now, I should be clear that I'm stressing some points that, while important, only manifest in fairly minimal ways throughout their work. I simply didn't want this to end up being left behind, to turn into more significant issues down the road.

Continuing on, I did notice 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. In your case, it's more often that you made partial use of it - either neglecting to define the joints between them with contour lines, or drawing partial forms instead of complete, fully self-enclosed sausage shapes. There were also other cases where you'd end up using more stretched ellipses, rather than proper simple sausages.

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). Just make sure you start out with the sausages, precisely as the steps are laid out in that diagram - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

While these are both points you should strive to keep in mind and address going forward, you will have every opportunity to demonstrate your understanding of them as you move forwards - so there's no need for revisions. I'll go ahead and mark this lesson as complete.