Jumping right in with your organic forms with contour curves, these are by and large quite well done. You're sticking to the characteristics of simple sausages, are drawing the contour lines themselves confidently and with a fair bit of accuracy to keep them snug within the sausages' silhouette, and you're demonstrating an understanding of how the degree of those contour curves ought to shift as we move along the length of each sausage. There's just one thing to keep an eye on - the actual alignment of the contour curves and ellipses to the central minor axis and general direction of flow of each sausage. There is a bit of a tendency to slant a little on occasion, with this one standing out in this regard.

Continuing onto your insect constructions, I think by and large you're doing a great job, although I do have a couple of things to call out to help keep you on the right track. As a whole though, I'm seeing a great deal of respect being paid towards the idea of starting simple and building up complexity in stages. You're also demonstrating strong observational skills, and your end results come out looking quite nice (although of course, we are not terribly concerned with end results here - though it's still worth mentioning).

The first point I want to stress is simply that it's very important that you treat every form you introduce - whether it's the very first masses or the last structural elements - as though they're each a solid, three dimensional structure being added to the scene. You do have a tendency to draw your initial masses, at least in a number of these drawings, more faintly than the marks that follow, and this creates the impression that these masses are not as solid, not as present in the 3D world, and more like an experiment before you really commit yourself. We can see this in this spider, and in this wasp. It's never to such a degree that it's a major problem, but it does have the potential to become one, and does contribute to another issue - that of ensuring that we always strive to work in three dimensions, and avoid the temptation of slipping back to engaging with our drawing as a flat, two dimensional 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.

Fortunately, I pretty much don't see any signs of you cutting into your silhouettes - although I do see cases of you extending silhouettes of existing forms or attaching flat shapes to existing structure, as I've marked out here on this weevil.

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. We can also see this more extensively in the more recent shrimp and lobster demos on the informal demos page - note especially how each step focuses on establishing its forms as solid and three dimensional, never leaving things to be vague or seemingly flat. 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. Given that this is something we've been pushing more recently (the distinction between 2D/3D), it's more apparent in these newer demos. Gradually I'm trying to overhaul the course to integrate more of these newer explanations/developments (I'm still back at Lesson 0/1), but for the time being those submitting for official critique get a sort of "preview" well ahead of time.

Continuing forward, I'm quite pleased with how well you've been adhering to the sausage method for constructing your legs. You're demonstrating a clear understanding of how 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. You're also showing a clear awareness of how we can then go on to build upon those forms to add bulk where it's needed - though there are some further approaches we can use to adhere more closely to the 'additive' construction principles I explained above, 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! That about covers it. By and large you've done a great job, and the points I want you to work on can continue to be addressed into the next lesson. I'll go ahead and mark this one as complete.