Starting with your organic forms with contour curves, it appears you've done one page each of the contour ellipses and contour curves, though it was two pages of contour curves that were assigned. Not a big deal, but probably a sign that you'll want to pay closer attention to what the assignment itself is. Aside from that however, you're doing quite well - sticking pretty closely to the characteristics of simple sausage s(aside from some slight pinching through the midsection at times), and maintaining confident, smooth, and fairly well controlled contour curves. One thing though - remember that the degree of the contour lines should not remain consistent, but rather get wider as it moves farther away from the viewer. I can see signs of you doing this with your contour ellipses, but not so much with the contour curves.

Continuing onto your insect constructions, as a whole you're doing really well, and your constructions feel quite solid and are generally well constructed. I do however have a number of points to call out - mostly nitpicky ones, but still things you should keep in mind and apply going forwards.

The first of these is to do with the nature of the marks we make, and whether we're really thinking about them in terms of how they engage with our construction as a 3D structure in a 3D world (where we introduce new forms that themselves respect and reinforce the 3D nature of the existing structure), or if we engage with them as a 2D drawing, just a collection of lines on a flat page.

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.

I've marked out some cases on this drawing of yours - in red where you've cut into the silhouettes of forms, and in blue where you've extended off them with one-off lines or partial shapes.

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.

The next point I wanted to call out has to do with line weight. More specifically, the fact that your use of it is kind of arbitrary at times, where you're reinforcing certain marks on a whim, rather than with a specific purpose or intent in mind. Instead, try and focus its use towards clarifying how different forms overlap one another, specifically using it only in the localized areas where those overlaps occur as shown here.

Additionally, avoid any situation where you draw your earlier constructional stages more faintly, with the intent of going back over them later. I can see a lot of this in constructions like this one where it appears that you've reached for an entirely thicker pen altogether. The entirety of your construction should be done with the usual 0.5mm fineliner. The only circumstance in which you are allowed to use a thicker pen or a brush pen is to fill in cast shadow shapes that have already been outlined.

Continuing on, you do appear to be using the sausage method when constructing your legs, although not in its entirety (in terms of the specific points mentioned in the sausage method diagram. You frequently neglect to define the joint between the sausages with a contour curve, though you are otherwise doing a good job of sticking to those characteristics of simple sausages.

I should also point out that the sausage structure is merely the beginning of our leg constructions, rather than the end. 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.

And that about covers it. Overall you're still doing quite well, and are demonstrating a solid grasp of the spatial relationships between these forms, as they exist in three dimensions. So, I'll go ahead and mark this lesson as complete, and leave you to apply the points I've raised here as you move forwards into the next lesson.