Starting with your organic forms with contour curves, these are generally well done, though keep working on striving for the characteristics of simple sausages. A number of these tend to get a little wider through the midsection, and some of them have ends that either are of different sizes, or that get stretched out instead of maintaining a circular shape.

Continuing onto your constructions, overall I think you're progressing fairly well, but there is one key issue I want to warn you against as you continue to move forwards. It basically comes down to ensuring that you view and interact with every form you draw as being solid and three dimensional, rather than taking any shortcuts that may involve interacting with it as though it's just a drawing 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.

So for example, if we look at your ladybug drawing, there are some spots I've highlighted in red where you cut back into the 2D silhouette of your initial masses, telling yourself and the viewer that those original masses were just flat shapes rather than voluminous 3D forms. This can also happen when extending out from those masses - adding flat shapes, or quickly trying to modify a given silhouette. They're all reminders that we're working in 2D space.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, 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.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. 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. It all comes down to working step by step. So if you compare that beetle horn demo to the horns on this beetle, you definitely skipped ahead and jumped into a greater level of complexity all at once, rather than building it up one piece at a time.

One really good example of the idea of our marks reinforcing the illusion that what we've drawn is three dimensional, is your lobster's abdomen. Here the segmentation you constructed wraps around the form in three dimensions. They're not drawn as complete, enclosed forms (as they were in my own lobster demo), but they definitely reinforce that illusion and give the impression that they are three dimensional.

Another quick point I wanted to mention is that when you get into detail on some of these drawings, it does feel as though you're more focused on the general goal of decorating your drawings and making them look more visually pleasing. Decoration, unfortunately, isn't a particularly clear goal to strive for - it's not always obvious how much decoration is enough, after all. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Lastly, I can see that you were generally trying to apply the sausage method when constructing your insects' legs, although there were definitely some deviations - like areas where you didn't quite stick to the characteristics of simple sausages. Be sure to go through that linked diagram again, as the specific requirements for the approach are all listed there.

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). I can see that you were trying to build upon your sausage structures in some cases, but these approaches adhere a little better to the principles of additive construction I talked about above.

So! Be sure to keep these points in mind, and apply them as you move forwards. I'll go ahead and mark this lesson as complete.