Starting with your organic forms with contour curves, your work here is coming along very well. You're clearly focusing on sticking closely to the characteristics of simple sausages (aside from the ellipsoid one in the bottom right of the second page), and you're demonstrating a general grasp of how the degree of your contour lines ought to shift wider as we slide further away from the viewer along the length of a given form.

Continuing onto your insect constructions, if I'm being completely honest, I ready myself for rushed, shoddy work when I see it come back fairly close to the 2 week minimum (I think I mentioned something similar in regards to your last round of revisions), but honestly you have knocked it out of the park here. You've done an excellent job of focusing on building up your constructions not just from simple to complex, as the core premise of construction demands, but you are generally doing a great job of acknowledging and respecting the 3D nature of every form you put down, continually reinforcing that illusion with the way in which every subsequent form is designed.

This is actually something I specifically try and push in my critiques for this lesson. 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 a little bit of this in your work, but it's only very slight. If you take a look at this spider, specifically its abdomen and thorax, you ended up with a looser ellipse, and took some liberties in picking which of those lines would be the actual silhouette of your mass. Having loose ellipses is not a problem - just be sure to treat its outermost edge as the perimeter of the silhouette of the resulting ball form (even if that means jumping from one line to another). This will keep the linework contained within the defined volume, rather than floating outside of it.

Instead of altering silhouettes, 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.

In general you've shown a lot of attention to the 3D nature of your existing structure, and so you leaned into this pretty hard, being sure to wrap your additional masses even in fairly subtle ways around the structure to which they were attaching. Very well done.

This brings me to one of your questions - is it okay to draw an enclosing boundary/outline for where the ends of the feet should go before we being the construction? There are some circumstances where this is okay, but they're few and far between. That is, in terms of what we're doing in these exercises.

The way I like to think about it is that everything we put down on the page is some kind of physical 3D structure. It may not be part of the thing we're constructing itself - it may be the scaffolding meant to support it, which we see in the early use of an ellipse in the hibiscus demo from Lesson 3, which defines how far out each petal will reach - but it's still something physical and present, rather than an imaginary, explorative sketch.

For most organic construction like what we're dealing with here, that doesn't work so well, especially because it will generally result in us working subtractively rather than additively. Working subtractively isn't a bad thing, but it is difficult to do correctly without already having developed one's spatial reasoning skills to a point. In that regard, this is one of the situations where, rather than practicing the thing that is difficult until it becomes easy, we actually avoid it for a while longer. Working additively instead has the benefit of developing our spatial reasoning skills in the ways that we want, but without making it as easy to give into the urge to work in 2D space, with flat shapes.

As explained here, it's easier to take these kinds of liberties with forms that are already flat (like leaves, petals, insect wings, etc.), but it still comes down to the structure we're laying down playing the role of something specific and physical, rather than an exploratory mark or sketch.

Continuing on, I can see that you're generally making solid use of the sausage method (except for here on your cricket's leg where you added contour lines through the midsection, which is specifically mentioned as something to avoid in the sausage method diagram). I did have a bit of additional advice on how to go about building upon those structures however.

The sausage method is all 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).

And that about covers it! All in all you're doing great. I'll go ahead and mark this lesson as complete.