Alrighty, starting with your organic forms with contour lines, these are decently done, although there are a few things I want you to keep an eye on:

• You're very close to getting the characteristics of simple sausages down, but there tend to be little ways in which you stray from them. Remember that we want the midsection to remain a consistent width from end to end, and we want those ends to be circular (yours sometimes get a little more pointed). I can see that you are aiming for that though, so just keep working at it.

• Don't forget to rotate your page as needed to find a comfortable angle of approach. There are some contour lines that seem to stiffen up a little bit, and they seem to be in particular orientations that, if you had your page out in front of you and weren't turning it, would definitely be trickier to nail.

Moving onto your insect constructions, while there are a few key issues I'm going to address, as a whole I am quite happy with what you've achieved here. You are as a whole clearly thinking about how your insects can be built up using separate, individual, simple 3D masses, and you're mindful of defining how they relate to one another in space. As a result, many of your constructions come out feeling solid and believable, and you capture the overall complexity without losing that illusion that the drawing itself has captured something three dimensional.

The first issue I want to call out is that there are definitely areas where your linework stiffens up somewhat. This can happen when we get a little sloppy either by forgetting about the principles behind the ghosting method (I recently updated the written and video content for the lesson 1 ghosted lines exercise to emphasize the three distinct stages more clearly so you may want to read/watch it again to refresh your memory), and it can also happen when we draw more from our wrists rather than using our whole arm. Ultimately, even as we get into drawing more complex things, we have to make sure that we always fall back to the core principles of how we draw each and every individual stroke.

The next point is actually something that doesn't come up that often, but it is present earlier on in your set and it's an important enough point to lay out anyway. When you build up your construction, make sure you're doing so by introducing new complete, solid, enclosed 3D forms to the existing structure, rather than simply drawing individual lines to bridge across spaces. I demonstrate what I mean here on one of your drawings. The key is to take any opportunity you can to define the actual relationship between forms.

This also means that it's best not to "envelope" one existing form with another, simply because it doesn't establish a very notable relationship between the smaller form and the larger one. Instead, building on pieces indiviudally, with each one having its own defined relationship with the underlying structure will yield a more solid resulting structure.

Another thing to avoid is anything that seems like you're taking an existing form, and modifying its silhouette to refine it. Enveloping one form in another is similar to this, but beyond that I fortunately don't see you doing this much. The reason it's something to avoid is that the silhouette that represents a 3D form is itself just a 2D shape on the page, and altering it doesn't actually change the form itself. It merely breaks the connection between them. We can see this most clearly when looking at what happens when we cut into the silhouette of a form, although the same thing happens when we extend that silhouette (which is kind of what happens when you bridge across forms with a simple line, rather than a whole separate form).

Instead, we work additively - which is primarily what you're doing, but for demonstration's sake, you can see this in this beetle horn demo and in this ant head demo.

The last point I wanted to talk about was leg construction. Overall I can see that you are clearly trying to work with the sausage method, and you do improve on this throughout the lesson work. That said, there are little mistakes - for example, on this page you end up using a lot more ellipses rather than sausages (drawing "through" the shapes works really well for ellipses specifically because it makes us fall into the pattern of drawing elliptical shapes, but this isn't ideal for drawing other shapes). Elsewhere, you stick to more sausage-like forms, but don't reinforce the joint between them as shown in the middle of this diagram.

I am pleased to see that you're making the attempt - you just need to stick to the specific aspects of the sausage method more closely. Moving on from there, when building on top of them, this approach to add additional bulk where it's needed works really well, because as discussed previously, it defines relationships between the added forms and the existing sausage structure. You can also see this approach to wrapping forms around existing structures here as well. Taking that further, here's an ant leg example showing how far this can be taken. As shown here with this dog's leg, this is a strategy we'll be using extensively throughout the next lesson's animals as well.

Now, all in all I'm still quite happy with your results, and you've got a lot of great examples - especially those on this page - of very effective 3D construction. So, all in all, you're doing well. I'll go ahead and mark this lesson as complete.