Starting with your organic forms with contour curves, it appears to me that when it comes to sticking to the characteristics of simple sausages, you may not have been keeping this as much in mind as you ought to have. In premise you are keeping things relatively simple, but there is still a fair bit of deviation from the more specific characteristics we talk about in the instructions. You've got a lot of forms that widen through the midsection (like ellipses), ends of different sizes, and ends that are more ellipsoid rather than circular.

Additionally, don't forget what was explained back in the Lesson 1 ellipses video, in regards to how the degree of your contour lines ought to shift as we slide along the length of the form. The farther we move from the viewer, the wider that contour ellipse or contour curve is going to get. The actual turning of the form also factors into this, but farther = wider is a good rule of thumb.

Continuing onto your insect constructions, there's a lot you're doing quite well here, along with a few things I want to point out to help you continue to make the most out of these constructional drawing exercises.

So first, what you're doing well - and there's actually quite a bit. Across your work, there's a ton that you're doing that really reinforces the fact that what we're dealing with are solid three dimensional forms, rather than just lines on a page. There's a clear sense that you're thinking about a lot of the actions you take as they occur in 3D space - for example, if we look at this scorpion, you're doing a great job of really wrapping that segmentation around the underlying structure, respecting and reinforcing how it exists in three dimensions.

Now, that's not uncommon in this lesson, but you take it further. As you build up your constructions, it's very clear that you're thinking about how each individual addition - even the major masses - exist in 3D space. While you do take certain actions in two dimensions (which we'll talk about shortly), the threshold at which you allow yourself to do so is very high, meaning that you go through the appropriate steps of respecting the solidity of the elements that are already present, as well as that of the things you're adding. You generally avoid cutting into the silhouettes of your forms, which is a common way that students end up flattening out their structures (as demonstrated here). As a result, your constructions feel a lot more tangible than most at this stage.

Now that doesn't mean that you don't still alter the silhouettes of these forms, and that's one of the things you'll want to work on going forwards. One such case is how when building up this fellow's head, you're extending off the initial head mass's silhouette to build out the area with the mandibles. This is not strictly a mistake, insofar as I haven't addressed this in the lesson material (I will, but it's one of the things that's going to be added as the content overhaul marches forward - until then it's something I share with those on the official critique track as I refine the manner in which I explain it).

Here's a demonstration of an ant head that shows how we can instead approach this through the addition of individual, discrete, fully self-enclosed forms at each stage, considering how they relate to the existing structure by either intersecting with it, or wrapping around it in the manner explained here.

Now all that said, I am nitpicking, and these are by no means mistakes within the context of the material you had access to - and moreover you've actually held to these concepts really well throughout the majority of your constructions, so great work on that front.

The other point I wanted to talk about is the use of the sausage method, in regards to how you built up your legs. It seems that you were generally aware of the sausage method, and attempted to apply it - but you didn't adhere as closely to the specific approach as detailed here as you could have. Most specifically is the use of contour lines, which as mentioned there should be reserved only for the joints between the forms, and not placed along their lengths (where they don't actually have any real impact).

There are of course definitely places where you've shifted further away from the sausage method - likely when you felt the leg you wanted to construct was too different from a sausage-like structure. 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).

And that about covers it! I'll go ahead and mark this lesson as complete. You're doing very well, just be sure to apply the points I've raised here going forward.