Starting with your organic forms with contour curves, you're largely doing well here, though there are a few things to keep in mind:

• You're largely sticking fairly closely to the characteristics of simple sausages from the instructions, though you are a little prone to allowing one end get a bit smaller or more stretched out and ellipsoid, rather than sticking to two circular ends of equal size. There is also a few spots where you pinch in the midsection a little, instead of maintaining a consistent width. Just things to continue keeping an eye on.

• For this exercise, it does help to include an ellipse on the ends of the sausages that are facing the viewer. These are no different from the rest of the contour curves, except that since the end is facing the viewer, we can see all the way around the full ellipse, instead of just a partial curve.

• Remember that the degree of your contour lines in this exercise should shift wider as we slide further away from the viewer, as noted in Lesson 1's ellipses video.

Continuing onto your insect constructions, overall you are doing quite well, and over the course of the set I'm seeing a lot of meaningful improvement and growth. I am going to provide you with some additional advice focused on the mechanics of thinking in 3D space (as opposed to thinking about our drawings just as lines and shapes on a flat page) - it'll help, but this is also an area where I think you've improved on your own as well (I was especially pleased with your flea).

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.

To illustrate the point, here on your cricket I've marked out in red where you cut into some of your forms (the one along the underbelly was due to starting off with a looser ellipse - this is fine, but just be sure to treat its outermost perimeter as the edge of the resulting forms' silhouette), and in blue where you extended off the existing structure with partial shapes or one-off lines.

Instead, 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 forward, I noticed that while you were definitely striving to employ the sausage method when constructing your legs, you did not apply it in its entirety, or in a consistent manner. Your sausage forms often had ends that were somewhat flatter - more like a cylinder - and you often neglected to define the joint between sausage segments with a contour line. This approach is quite specific, and does require you to adhere to all of its aspects.

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.

And that about covers it. As a whole I am very pleased with your improvement, and I feel that you should be good to continue working to adhere as strongly as you can to the idea of working in 3D space - so I'll go ahead and mark this lesson as complete. Just be sure to keep these points in mind, and refer back to this feedback periodically to ensure that you don't slip back into working in two dimensions, as it is rather easy to forget.