Starting with your organic forms with contour curves, you're doing a good job of sticking to the characteristics of simple sausages in most cases, but there's one main issue I noticed - you seem to be making your contour curves narrower as they move farther away from the viewer along the length of the form. That's actually incorrect - they should be getting wider, for the reasons explained in the Lesson 1 ellipses video.

Continuing onto your insect constructions, there's a fair bit you're doing well here and you are clearly focusing heavily on the idea of building up complexity step by step, rather than jumping into it too soon, but I do have a number of recommendations to offer that should help you benefit more from these exercises.

The first of these comes down to how you're actually approaching your linework. You seem to be starting your lines more lightly and faintly, and gradually increasing the thickness of your marks as you progress. This results in the impression that we're redrawing the structure as a whole at each stage, working from a sketch and making our way to a "final drawing". While that isn't strictly what you're doing here (you're not going back over all of the linework, so it's not really a full clean-up pass) it does still result in a lack of cohesion across the construction as a whole that does a lot to remind us that what we're looking at is a flat drawing, not a 3D construction.

In general, line weight should not be applied without purpose - it's best used to help clarify how different forms overlap one another, and should be limited to the specific, localized areas where those overlaps occur as shown here.

Now, this point about things that we do which can make our drawings feel more like - well, 2D drawings on a flat page - extend beyond just the thickness of our lines. The way in which we put marks down can occur with a focus on what's happening in two dimensions (where we can be focusing just on putting marks down, with all the freedom to put down whichever marks we may feel we want at the given moment) - an action that occurs primarily in 2D space - or we can put marks down in such a way that we are actually thinking about introducing 3D forms to a 3D construction, drawing them such that they respect, reassert and reinforce the solidity of that existing structure.

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.

Take a look at what I've highlighted here on your spiny devil katydid. While I do see a lot of places where you'll extend forms out across your drawings, this was one of the few notable places where you cut into a form's silhouette. Here you drew the abdominal mass, but viewed it more as an ellipse on a flat page, which allowed you the freedom to then draw over it without necessarily considering it as a solid, 3D structure. So in red, I've highlighted places where you've cut into your forms, and in blue where you've extended things out or added features 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 on, I can see that you have made a conscious effort to apply the sausage method for your leg construction, although you may have unknowingly deviated from elements of the approach. Most specifically, you do need to consider the specific characteristics of the simple sausages shown here on the sausage method diagram more closely. Sometimes you'll put down ellipses instead, other times they might have some other irregularities. Basically it's just something to pay more attention to, as it is a critical aspect of this technique.

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).

Oh, one thing about the tendency towards ellipses - you don't do this most of the time, but be careful when it comes to drawing around a given shape multiple times. It's encouraged for ellipses to do it twice specifically because it makes our arm lean more into drawing that sort of ellipsoid shape - but for anything else, like a sausage, it's going to cause you to drift towards an ellipse instead of the specific characteristics you're after.

Anyway, while the points I've called out here are certainly important, you will be able to continue to address them in the next lesson. So, I'll go ahead and mark this lesson as complete - just be sure to do whatever you need to make sure that you are actively addressing these points going forward. If that means rereading the feedback frequently, taking notes and revisiting those - whatever it takes.