Starting with your organic forms with contour curves, you're doing a good job of sticking to the characteristics of simple sausages as laid out in the instructions. There are however a couple of things for you to work on:

• Your contour curves' accuracy - this is, in all honestly, not a big concern, and it's more important that your curves are drawn confidently so as to achieve a smooth flow and an even shape, which they do. But it does help a fair bit in creating the illusion that they run along the surface of the sausage form, if they're actually snug between the edges of the structure. So, just something to keep working on.

• While you are shifting the degree of your contour lines, there are a number of these where you're actually making them get narrower as they move farther away from the viewer, which is incorrect - they should be getting wider as they move away from us. You may want to review the lesson 1 ellipses video, which explains how to go about thinking through this problem.

Moving onto your insect constructions, you may have had a tough time with it, but honestly you did a great job, and I don't actually have that much advice for you. But I do have a couple things.

First off, let's talk about what you did well. It mainly comes down to one thing - you did an excellent job of respecting the fact that each of your forms is solid and three dimensional, rather than just shapes on a flat page. For example, the way you handled the segmentation along this guy's abdomen, where each new piece actively wraps around the existing structure. It's very common for students at this stage to try to cut into their silhouettes, or modify it in other ways (like extending it by adding flat shapes to it), but this simply reminds the viewer that what they're looking at is flat and two dimensional as shown here.

Now you're not doing it perfectly - one issue comes down to the fact that you're drawing those earlier masses the starting ball forms) more faintly, which makes it harder for us to really accept that these structures are solid and 3D. In turn, this can make us more prone to modifying their silhouettes, which you do in that same drawing as shown here (on the midsection of the insect's body). I also pointed out how the section connecting the head to the thorax is also a flat shape, rather than a complete form.

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.

All that said, you are mostly still doing a great job with this, I just wanted to ensure that you fully understand the how's and why's of it all.

The only other thing I wanted to offer is that while you're generally doing a great job of applying the specific principles of the sausage method when constructing your legs (aside from forgetting to define that joint with a contour line on occasion), this technique is really just the first step, which focuses on 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).

There are some spots where you did try and build on top of the sausage structure in a few spots, but they generally involved altering silhouettes, or engulfing the entirety of a structure with a new form. The latter isn't a mistake, but it's not ideal. Instead, as demonstrated in the first diagram I linked in the previous paragraph, breaking it up into separate pieces allows each new mass's silhouette to make ample contact with the existing structure, allowing us to define a much stronger relationship between them in 3D space.

Anyway! All in all, you're really knocking it out of the park. I'll go ahead and mark this lesson as complete.