At a glance, it looks like while it's been a while since your last submission, overall you've done a pretty good job - although I do think you may have overestimated just how much you remembered about the organic forms with contour lines exercise, and perhaps as a result did not review the instructions as carefully as you should have. There are a few ways in which this exercise could be done better:

• Firstly, it's unclear whether you're consciously trying to stick to the characteristics of simple sausages here. You may well be, but you need to slow down and work on your execution to ensure that those ends are equal in size and circular in shape, and that the midsection does not change in width.

• Your contour lines are drawn confidently, but be sure to employ the ghosting method to help with the accuracy while still maintaining the consistent, even shape that comes from a confident execution.

• Looks like your contour curves are drawn at roughly the same degree, rather than getting wider as we move farther away from the viewer as explained in the Lesson 1 ellipses video.

• Be sure to draw through all of your ellipses two full times before lifting your pen, as discussed back in Lesson 1. This goes for all the ellipses we freehand throughout this course.

Now, moving onto your insect constructions, by and large you've done a pretty great job overall. I can see a considerable amount of effort being put into the idea of building up your constructions from a simple state, gradually increasing the complexity through the addition of simple components.

There are however a couple areas where I can provide some suggestions to help you continue to get as much as you can out of these exercises. To start, we're going to look at the difference between engaging with your construction as a solid, three dimensional structure in a 3D world, and engaging with it as a series of lines and shapes 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.

On this wasp construction I've marked out on the thorax in red where you started with a larger form, then decided it didn't match your reference as intended, and then cut back into it. It's particularly strange here because at some point (where I put the little question marks), we go from this part being cut away from the thorax, to it being part of the thorax again, and it's unclear where and how that transition is achieved. In blue, I also highlighted where you redrew or extended the silhouette of existing forms, building upon your 3D construction with flat 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, 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. You can also see this presented in the shrimp and lobster demos at the top of the informal demos page. Having been produced more recently, they do a better job of depicting this overall push for ensuring that at every stage, everything on the page is established as a solid, three dimensional structure. 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.

Now, I wanted to talk a little about how you approached constructing your insects' legs. I think you may have tried to follow some aspect of the sausage method in your constructions, but I think you did not pay enough attention to exactly what that is meant to entail - specifically because the shapes you used did not adhere to the characteristics of simple sausages.

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.

As a whole you do have some points to keep in mind, but each of these can continue to be addressed into the next lesson, and I do really feel that as a whole you are showing a good grasp and respect of how you're working in 3D space - I just think there are some cases where you allowed yourself more leeway than you strictly should have.

So! I'll go ahead and mark this lesson as complete.