Starting with your organic forms with contour lines, you're doing a great job in sticking with the characteristics of simple sausages. One thing to keep an eye on though is that the contour curves appear to be drawn with a somewhat consistent degree - there are some areas where they shift wider/narrower but it's unclear that it's intentional. So, just a reminder - as we move along the length of the sausage, shifting away from the viewer, be sure to widen their degree. The reasoning for this is explained in the Lesson 1 ellipses video.

Continuing onto your insect constructions, there's a lot of good here, although there are definitely some things I can share to help you get the most out of these exercises. The first of these pertains to distinguishing between the marks we make that involve adding something in 3D space, as a solid form engaging with other 3D structures, and the marks we make that involve adding something in the 2D space of the drawing.

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.

Here you can see where I've highlighted in red an area where an ellipse was laid down early on, either for the head or thorax, then cut across as though it wasn't there. Also, I can't see any simple ball mass that was laid out for that larger portion of the abdomen, so it looks more as though you were extending out the portion highlighted in blue from an existing structure, with lines that did not self-enclose their own form.

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 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.

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, there are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

Lastly, 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. 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.

While I've called out a number of issues, by and large you are still doing quite well - and I expect that if you give yourself more room for each of your constructions, you'll continue to do even better. So, I'll leave you to address these points as you move onto the next lesson, and will mark this one as complete.