Starting with your organic forms with contour curves, these are mostly coming along well, but there's one main thing I want to call out - you're not quite adhering to the characteristics of simple sausages in some of these, to the point where you may have forgotten to do so at times. As explained here, we want our sausages to be of a specific shape - two circular ends of equal size, connected by a tube of consistent width. Your second page was definitely better with this (fewer instances of pinching through the midsection, or having one end be much larger), though there's still room for continued growth in this area.

Continuing onto your insect constructions, overall I do feel you're doing pretty well, but there are a few significant things to call out that I feel can help you improve how much you get out of these exercises. As a whole, I can definitely see that your understanding of how these constructions exist in 3D space is progressing pretty nicely, and that you are definitely thinking hard about how to build up from simple to complex.

The first, and most significant issue that I'm noticing here basically comes down to jumping a little too freely between working in 3D space and 2D space as you build these up. 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 this in a lot of your drawings - one strong example of this is this grasshopper where you built up that segmentation inside the initial mass you'd constructed (cutting into it and leaving a fair bit hanging outside the "final" result). This kind of thing reminds the viewer that they're looking at a flat, two dimensional drawing - and it has that same impact on the way you interpret what you're drawing. Remember that our goal is to really build up the belief in your subconscious that the act of drawing is actually the act of building something in a 3D world. This is something you're improving at, but jumping back into interacting with your drawings in 2D space is definitely hindering you.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, 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.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. You can also see this demonstrated very well in the shrimp and lobster demos in the informal demos page - it might be a good idea to follow along with these on your own to really solidify the difference. You can actually compare the approach for adding abdominal segmentation in these two demos directly to your grasshopper to see the difference in the approaches.

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.

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 did generally stick to sausages, but there were different areas where you were a little lax on following the specific requirements mentioned in the diagram. For example, adding contour lines along the length of the sausages (instead of focusing them only at the joint between segments).

Another point 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).

So while you do have a number of things to keep in mind and work on, I do still think you can address these in the next lesson without needing further revisions. So, I'll go ahead and mark this lesson as complete.