Starting with your organic forms with contour curves, I did notice a few issues I want to call out:

• To start with, it appears that you skipped this step where we draw a central minor axis line through the middle of the sausage, to help in aligning our contour lines.

• Your contour lines tend to be rather hesitant and shaky - this usually suggests two things: that you're executing the mark slowly, instead of with confidence after investing your time into the planning and preparation phases of the ghosting method (in other words, probably not using the ghosting method at all), or that you're drawing these more from your wrist, rather than engaging your whole arm from the shoulder.

• The degree of your contour curves tends to be consistent along the length of the sausages - remember that as discussed in Lesson 1's ellipses video, that degree should shift wider as we slide further away from the viewer.

You're generally doing okay when it comes to sticking to the characteristics of simple sausages - there are deviations, and you tend to pinch too much through the midsection in many cases, so you'll want to keep pushing yourself to stick to two circular ends of equal size, connected by a tube of consistent width - but I'm not too worried about that, as long as you continue addressing it. I am more concerned about the missed instructions and the shakiness of your linework, as it does suggest that you're skipping out on reviewing the instructions, and perhaps not holding to some of the core principles introduced in Lesson 1.

Continuing onto your insect constructions, there is some advice I want to give you that will help you get the most out of these kinds of exercises - although I do feel that one of your biggest hurdles right now is your linework and control. I can see that this is something you're working at, and you are improving with it, but there are going to be times where a small mark here and there may feel unimportant, and thus may not feel like it demands all that much time from you. For example, the contour lines at the joints between your legs' sausage segments - there are a lot of places where these are executed more sloppily, resulting in the contour line shooting off the surface of the sausages altogether, as we see here. Take all the time you need with each and every mark you execute - and for your contour lines, make sure that they are not too shallow, as discussed here.

Another point that certainly can help with this is drawing bigger. You already are making pretty good use of the space available to you on the page, I will admit, but there is some more room to draw a bit bigger. Every little bit helps, because it pushes us to engage our whole arm from the shoulder more and more.

Now, continuing onto that advice I wanted to offer - it's all about understanding the distinctions between the choices we make in 2D space, where we're really just thinking about our drawings as lines and shapes on a flat page, and the choices we make in 3D space - where we're actually thinking about everything we add as new, complete 3D forms. More importantly, making choices in 3D space means drawing those new forms in such a way that they respect and even reinforce the solidity of the existing structure.

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.

Now in your case you don't really cut into your silhouettes all that much, but you are very prone to adding partial shapes, one-off marks, and extensions to existing silhouettes, as I've identified here. A lot of this comes from the tendency to draw your earlier steps more faintly, and then go back over them with a darker line, in a sort of "clean up pass". This approach, while valid in general, is not something you should be using this course as explained here. Instead, your use of line weight should be fairly limited, focusing only on establishing how different forms overlap one another as noted here.

Instead of drawing individual lines, or partial shapes, 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.

Continuing on, when it comes to constructing your insects' legs, you are generally making a solid effort to apply the sausage method. There are issues of course, but these fall primarily to the control of your linework I raised previously - it's impacting some of your contour lines, as well as the sausage forms themselves.

Once you have a sausage structure established, this serves not as the entirety of the leg, but really as just the base structure or armature. 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).

The last thing I wanted to call out is that right now, your use of filled areas of solid black are a bit mixed up. There are areas where you're using them to establish cast shadows (which is good), but there are other places where you use it for form shading (like here), and there are quite a few areas where you arbitrarily fill predefined shapes in - like the gaps between segmentation, or your moth's antennae. As a rule, reserve your filled areas of solid black for cast shadows only. Whenever you find yourself filling in an existing shape in your drawing, take a step back and ask yourself whether it's really a cast shadow. A cast shadow will require you to consider how the form casting the shadow sits in space, and how it relates to the surface upon which it is being cast - and based on that information, it generally requires you to design a new shape for your shadow. It's that shape which establishes the spatial relationship - whereas just filling in an existing shape will not.

That's about it for now. As it stands, you are applying a lot of the processes well enough (the point about thinking in 2D vs. thinking in 3D is something we can certainly continue to work on), but I feel that right now due to the linework issues, the next lesson may still be somewhat overwhelming. So, I'm going to assign some revisions below to help you work through those issues first.