Starting with your organic forms with contour lines, these are definitely moving in the right direction, but there are a couple things to remember:

• You're sticking pretty close to the characteristics of simple sausages in a number of ways, but there are still some deviations - avoid having your sausages get pinchy in the middle, and keep an eye on those ends. You want them to be the same size, and fairly circular in shape (avoid having them get stretched out).

• Accuracy of your contour curves is something you'll want to keep working on. They are very confidently drawn, so they come out smooth and that's great - you just need to increase the attention to the planning and preparation phases of the ghosting method to get them to fall snugly within the sausage. Right now you've got a lot of overshooting and undershooting.

Moving onto your insect constructions, I think you're showing a good deal of improvement and growth over the whole set, but there are a number of key issues I want to address. Before that, I do want to commend you on how solid some of your constructions appear. The one at the top of this page especially feels solid and three dimensional, particularly the segmentation of its abdomen.

When it comes to the issues, let's start with the relatively minor points. First up on that front is just a reminder that as discussed back in lesson 2, form shading is not something that should be included in the drawings for this course. So for example, in this tarantula and beetle you definitely went in the wrong direction in terms of how you were using your time.

Next, 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. In your case, I'd say in most cases you may have been trying to use the sausage method, but ended up straying frequently from 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 - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

Now the most significant issue I wanted to raise was an issue that doesn't come up all over the place, but it is very important. 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.

If you take a look at the tree hopper on the top of this page, you can see an example of how you've cut back into the silhouette of the ball form with which you started constructing its head. For the insect in the lower half of the page, you've also got a number of places where you similarly modified the silhouette (like along its abdomen) by adding flat, sometimes complex shapes to extend it out.

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. Constructional drawing works towards that by pushing students to build everything up from simple forms, and avoiding making things too complex to start (because complex forms tend to read more as flat). If you take a look at the more complex sections of this scorpion's arms, you've got some forms that were drawn with rather complex silhouettes, and in order to kind of help them read as 3D, you had to add contour lines. Instead, build them up from simpler forms (sausages in this case) and then build up more masses on top.

Overall, while you do have some issues to address, I feel confident that you'll be able to apply my critique as you move forward. So, I'll go ahead and mark this lesson as complete.