Jumping right in with your organic forms with contour lines, by and large you're off to a great start. Your sausage forms stick closely to the characteristics of simple sausages, and your contour curves themselves are drawn with confidence and accuracy. There are two issues of concern however:

• The more notable of the two is that you, on more than one occasion, place the little contour ellipse which we get when the tip of a sausage is facing the viewer, on an end which the rest of the contour curves suggest is pointing away from the viewer. For example, if you look at all three of those along the right side of this page, the contour curves and contour ellipse contradict one another. As a side point, be sure to draw through all of your ellipses two full times before lifting your pen as well (as discussed back in Lesson 1).

• Another point I noticed was that the degree of your contour curves at times shifts in the wrong direction. While you are certainly correct that the degree of the contour lines should shift as we slide along the length of a given cylindrical form, it should get wider as it moves farther away from the viewer, not narrower. You can revisit Lesson 1's ellipses video, as it explains this in greater detail.

Continuing onto your insect constructions, the first thing that jumped out at me was the fact that by and large you've done a very good job of sticking primarily to working in 3D space - ensuring that each addition is introduced as its own complete, self-enclosed silhouette, and that the solidity of the existing forms is further respected (specifically by avoiding cutting into those silhouettes or extending them out with partial shapes, which as shown here can very much undermine the solidity of the structure).

The only area where I did notice you jumping back into 2D space was where in your praying mantis, you noted that the thorax was not shaped correctly, so you attempted to modify that silhouette to correct this. Going forward, in a situation like this, it is best to simply accept the way you drew the form in the first place. While observation and taking your time to identify the specifics of the forms we seek to draw is important, mistakes do occur - deviating from the reference image is not the end of the world. These drawings themselves are not done attempting to reproduce the reference perfectly - rather, the reference itself provides us with a source of information, and a direction in which to move. The process itself is one of starting from simple forms and gradually working our way in that direction, every step of the way involving the addition of new forms, and considering how they relate to the existing structure. And for the most part, you've held to that very well.

One way in which this can be improved, however, is to actually define the intersections between different interpenetrating forms using contour lines. Basically as we build up a construction, each form we add can have its relationship with the existing structure defined in one of two ways. When the form interpenetrates the existing structure, we can define that intersection with a contour line, similarly to Lesson 2's form intersections exercise (although with organic structures like this, it's usually a much simpler curve or ellipse). When the form we're adding instead wraps around the existing structure, the relationship is conveyed through the specific design of that new form's silhouette, as shown here.

The importance of the intersection lines is actually something that is stressed as part of the sausage method (as you'll note in the middle of the diagram), but this is something you neglected throughout your drawings - so be sure to apply it more consistently going forward. Aside from this, you have applied the initial aspects of the sausage method quite well.

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).

So, that should about cover it. As a whole you've done a good job, and any issues I've called out can continue to be addressed into the next lesson. I'll go ahead and mark this one as complete.