Starting with your organic forms with contour curves, you're generally doing a good job of focusing on keeping to the characteristics of simple sausages, although do keep an eye on the ends of your sausages, as you sometimes stretch them out more than you should, resulting in more of an ellipsoid shape rather than a circular one. For your contour curves, you're certainly executing them with a fair bit of confidence, though be sure to invest more time into the planning and preparation phases of the ghosting method to ensure that you're giving yourself as much control over the result as you can (while still maintaining that confidence). This will help you fit your contour lines more snugly within the silhouettes, which will in turn help push the illusion that these lines run along the sausages' surfaces.

Also, don't forget that the degree of your contour curves should be getting wider as we slide further away from the viewer along the length of the form. If you're unsure as to why this is, you can refer back to the Lesson 1 ellipses video.

Continuing onto your insect constructions, there's a great deal here that you're doing quite well. I'm very pleased to see your overall focus on building up from simple to complex, although I think this can be pushed further by highlighting the distinction between the kinds of choices we can make - those in 2D space, where we're just thinking about making marks on a flat page, and those choices we make in 3D space where we're actually thinking about what we add as being three dimensional forms, and drawing them such that they both respect and reinforce the solid nature of the existing structures.

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.

So for example, here on this rhinoceros beetle I've highlighted in red where you've cut back into the silhouettes of your forms, and in blue where you've extended off them using flat shapes and without providing clear information on how those additions connect to the existing structure in three dimensions. As a side note, your linework in this construction is particularly shoddy - I know you mentioned yourself that you tend to slip back into using your wrist (which suggests you need to slow down and give yourself more room to think through each action you take, before actually acting), but this also suggests a tendency to not use the ghosting method as thoroughly as you ought to. Drawing smaller elements is definitely more challenging, but what I'm seeing here is more in line with not giving yourself enough time to be conscious and in control of your actions. Additionally, remember that line weight - which you're using somewhat arbitrarily here - should be focused on clarifying how different forms overlap one another, by limiting its use to the localized areas where those overlaps occur (as explained here).

Just to be clear, this beetle was a particularly rough example of these issues - you have considerably stronger ones elsewhere in the set, where you're more mindful of your markmaking.

Getting back on track - instead of altering the silhouettes of our existing forms, 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, I noticed 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, you certainly did deviate from the sausage method in places, but I also noticed cases where you were meaning to adhere to the sausage method, but you fell into a lot of the pitfalls outlined in that diagram - drawing ellipses at times instead of sausages, occasionally forgetting to define the joints between the sausage segments with contour lines, and at times placing those contour lines elsewhere along the sausages' lengths.

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.

Now, the issues I've called out here can certainly continue to be addressed into the next lesson, so I will leave you to do it there, and will mark this lesson as complete. Just be sure not to simply read this critique once and never again, as this will result in a greater likelihood of you forgetting to apply these points going forward. Revisit it on occasion, and even take notes so you have something to refer to more directly as you work through your later constructions.