Thanks for the kind words, and for the feedback on the website. I'll definitely look into that spell checker issue - I know I can disable the textbox's own attempt at spellchecking, but I actually enabled it hoping that it would use the default one and was sadly disappointed. I am eventually going to add the ability to toggle between this editor and a more basic default textbox, but it's unfortunate that I can't have my cake and eat it too.

Anyway, looking at your work, overall you've done a pretty solid job. You've largely demonstrated a pretty solid grasp of form and a fair amount of attention to the instructions, though I do see a few areas where I can make recommendations that will help moving forwards.

Starting with your organic forms with contour curves, these are very well done. Your forms are simple and consistent, and the contour curves themselves are mostly drawn well. I do think that there's room to emphasize the shift in degree from one end of a sausage form to another however, as right now they do feel pretty consistent. Additionally, when it comes to the little contour ellipse that is drawn on the tips that point towards the viewer, keep in mind which tips actually meet that criteria. I've noticed a number of sausage forms where the contour curves suggest the tip is pointing away from us, but where you've drawn a little contour ellipse.

Moving onto your insect constructions, I think it's in everyone's best interest if we skip the wasp altogether. Beyond this one you demonstrate a much stronger understanding of how to approach the exercise, and I feel that one is an early outlier.

The struggles you described regarding smaller sausage forms aren't abnormnal at all. It's entirely understandable that narrower, smaller sausage forms are considerably more difficult to draw. There are a number of factors that contribute to this, but the biggest one is tha it has a tendency to allow us to lean more on drawing from our wrists and elbows, despite the fact that doing so from our shoulders is still the best choice here due to the broader range of motion it provides. Additionally, you may be drawing the sausages a little more quickly than you need to. As students get used to the whole idea of drawing "confidently", the speed they need to maintain in order to avoid letting their brain steer decreases gradually, allowing them to avoid wobbles while giving themselves a little extra control. In the future, you can try drawing those sausages a little more slowly, from your shoulder, and see if the results come out better.

Another thing I noticed was that you do have a tendency to draw a lot of contour lines. Contour lines are great tools, but it's important to remember that there are plenty of circumstances where we can add a contour line, but where it doesn't actually contribute much to the drawing. Every mark we put down has a specific job, and we need to be aware of precisely what we want out of a given line before putting it down on the page. We also need to assess whether or not the line we want to draw is going to be the best for the given task.

With contour lines, there are a couple different types. There are the ones we've been familiar with since lesson 2, where they sit along the surface of a single form, helping to describe how that surface flows through space. Then there's the contour lines that define the relationship/connection between two forms. This latter type works exactly like the first one, but has an additional bonus - in defining that relationship between forms, it creates a recursive link between them where if one of them feels three dimensional, so to will the other - and in turn, so too will the first, and on and on. This creates a very strong illusion that the forms in question are 3D - far moreso than a single contour line sitting along the surface of a single form. As such, it's a good idea to focus on drawing these kinds of contour lines wherever you can, instead of the first type.

I noticed a number of places - specifically along your legs where the sausage segments connect - where opportunities to add these kinds of contour lines were skipped. Remember that the sausage method - which builds an armature for our legs that captures both the illusion of solidity and a flowing sense of fluidity and gesture - is made up of a specific series of approaches explained here. You've applied it well in a number of cases, but there are also several where your sausages aren't entirely meeting that 'simple sausage' criteria, places where you don't get quite enough overlap between the forms, and places where you haven't reinforced the joint with a contour curve (choosing instead to place contour lines along the length of the segment). Remember that if the leg requires bulk be added in various places, you can always come back and do that later, as demonstrated here.

There's one last thing I want to mention. In a few places, I've seen you put down a form (usually during the early lay-in phase of our base construction), then later on redrawn that form with specific changes. These changes are more to the shape of the form on the page, and don't bear relationships in 3D space. We can see one such case in this drawing, where the thorax was drawn in as a simple ball before being followed up with a new shape that cut back into that ball's silhouette.

In constructional drawing, every form we draw is one that we have placed within the world. It is a solid form that cannot be ignored and drawn over on the page - we need to respect its solidity and its presence and abide by all the restrictions that come with that in order to ensure that we can sell the illusion that our object is real, three dimensional and solid without contradicting ourselves or undermining the viewer's suspension of disbelief.

Construction comes in two flavours - additive and subtractive. Additive is where you put down a form, and then draw another form on top of it, clearly establishing how the second form relates to the first in 3D space. This is what we usually use, and I encourage its use because through the act of doing it, it helps further develop our understanding of how these forms relate to one another.

Subtractive on the other hand is often misunderstood. Many students will try to cut back into their forms as you've done here - cutting back into the shape of it on the page, separating it into 2D sections, some that remain and others that ultimately have to be ignored. Instead, subtractive construction is all about separating the given form into sections in 3D space. That is, we cut it into pieces by drawing lines along that form's surface - contour lines where our pen works more like a scalpel, cutting into it. Once these sub-forms are defined, we can choose to say that one defines three dimensional space that is positive, and the other defines space that is negative (meaning cut away). The key is that all of this occurs in 3D space, and the result is that the resulting forms and the object that comes out of it still feels real, rather than having reminders and contradictions that suggest the object is just made up of lines on a page.

If ever you find yourself redrawing a form, then you know you're going down the wrong path, so in general, try and avoid that.

I've given you a number of things to keep in mind here, but all in all I do see a lot of good signs. As such, I am comfortable in marking this lesson as complete.