Starting with your organic forms with contour curves, I can see that you're paying attention to adhering to the characteristics of simple sausages, though there is a slight tendency towards making them widen through the midsection a little. This is more prominent on the first page, but it is present on the second to a lesser extent. Just one of those things to keep an eye on. As far as the contour curves go however, be sure to put a bit more time into the planning and preparation phases, as you are running into some issues in placement of the curves. The contour line technique leans heavily on the idea that we're drawing along the surface of the 3D form, but if our curves don't fit snugly within the form's silhouette, that illusion erodes.

Continuing onto your insect constructions, you're definitely doing a good job of focusing on building up from simple to complex in successive stages, and generally avoiding skipping steps. One thing that especially stands out is that as you progress through the lesson, you appear to ensure that more and more of the actions you take occur in 3D space - where you're actually thinking about how the existing structure exists in three dimensions, respecting that illusion and even reinforcing it with every new addition. It's not uncommon for students at this stage to jump back and forth between this and actions that occur only in 2D space, where they're putting individual marks on the page, only considering how they exist in two dimensions, which certainly can erode the sense that we're looking at something three dimensional.

We'd see some things like this in your earlier constructions, like this grasshopper where towards the back of the abdomen you end up cutting into the silhouette of the form. This action effectively takes a 3D form and reduces it to only the flat shape that is meant to represent it. Modifications to that shape's silhouette will break the connection between the 2D shape and the form it represents, leaving us only with a flat shape as demonstrated in this diagram.

While it is possible to work subtractively in 3D space, it can be very tricky - and the greater issue there is that it's very easy to do so incorrectly, which actively works against developing our spatial reasoning skills. Conversely, working in a strictly additive fashion, 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 can actually further develop our spatial reasoning skills, ultimately arming us with what we'll need to more successfully work subtractively in the future. 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.

But all that said - you actually make a lot of great moves in this direction throughout the set, and end up applying it well on your own by the end.

When it comes to leg construction, you are definitely making efforts to apply the sausage method as demonstrated in the wasp demo, but you do neglect some important elements of the approach. Primarily you neglect to define the joint between sausage forms with contour lines in many cases, and in others you place them elsewhere - something I specifically discuss in the middle of that sausage method diagram.

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.

The last thing I wanted to call out is just a quick note - I find that filling in the cast shadows on the ground to be a bit distracting, and that only leaving them as outlines can give us all the benefit of grounding the object, without the distraction.

And with that, I'll go ahead and mark this lesson as complete. Keep up the great work.