Starting with your organic forms, it appears that you did one page of contour ellipses and one page of contour curves. Note that the assignment requested two pages of contour curves. Not a huge problem, but definitely a sign that you should take a bit more care in reading through the lesson material.

In regards to this exercise, you've generally stuck fairly well to the characteristics of simple sausages as mentioned in the instructions. I do have a couple points for you to keep in mind however:

• Firstly, be sure to draw through the ellipses at the tips two full times. You appear not to be entirely consistent with this, and it is important that we do this for every ellipse we freehand throughout this course, as discussed back in Lesson 1.

• Keep an eye on the orientation of your contour curves - you tend not to have them completely aligned to that central minor axis line, they're slanted slightly.

• Remember that as discussed in the Lesson 1 ellipses video, the degree of your cross-sections should be getting wider as we slide farther away from the viewer along the length of the sausage.

Continuing onto your insect constructions, the first point I noticed was that a lot of your drawings end up being kind of small. 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. 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.

Second, 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 - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

And lastly, I think it would be beneficial to take a moment to talk about the difference between the kinds of actions we can take in 2D space, where we're just putting marks down on a flat page (and taking the liberties that can afford us in terms of how we draw thoose marks), versus actions taken in 3D space where we draw with a focus on the fact that we're introducing complete 3D forms to a structure that itself also exists in three dimensions. 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 I've highlighted in red where you've cut into some of your forms' silhouettes, and in blue where you've extended off those silhouettes with a partial, flat shape.

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.

As I do think that your work will improve a fair bit in applying the points I've raised here, I'm going to assign some revisions. You'll find them below.