Starting with your organic forms with contour curves, there are a few things that stood out. Some of my feedback here may overlap with what I called out for your cylinder challenge, but I figure it's better to repeat it than to have it be neglected.

• You appear to be making an effort to stick to the characteristics of simple sausages (as explained here in the instructions), though it's important that you keep pushing in that direction, as right now you still tend to have some sausages with ends of different sizes, or ends that get stretched out into more of an ellipsoid shape, rather than remaining entirely circular. Remember that we're aiming for two circular ends of equal size, connected by a tube of consistent width.

• You need to be drawing through your ellipses two full times before lifting your pen.

• On that first page you appear to have skipped the step of drawing a central minor axis line - though this was resolved in later pages, so that's good to see.

• The degree of your contour lines seems to remain fairly consistent - remember that as discussed in the Lesson 1 ellipses video, it's shown that the degree should be getting wider as we move away from the viewer.

• This isn't an issue, but I did find it peculiar that you did 4 sparse pages rather than doing the 2 pages as they were assigned. I mean, had you only submitted the 2 sheets I would have pointed out that there was plenty of empty space that could have been filled in - since you doubled up, the quantity certainly isn't an issue, though I would have preferred two filled pages.

Continuing onto your insect constructions, one thing that immediately jumps out at me is that you appear to be working with at least a couple different kinds of pens for your work here. While it's okay to reach for a thicker pen, or even a brush pen, this is only to be used when filling in your solid black shapes (which we use specifically for capturing cast shadows). Everything else should be drawn with the 0.5mm fineliner which is listed in the instructions. You appear to have switched pens throughout your drawings, using them to add vastly thicker line weight.

As a whole, it's pretty apparent that your focus here throughout this lesson's assigned drawings has been primarly geared towards producing a particular end result by whatever means possible. It's been focused largely on what ends up existing on the flat, two dimensional space of the page. While many of your drawings came out quite nicely as a result, it doesn't actually line up very well with what the lesson itself asked. Every drawing we do here is itself an exercise. Each one is a three dimensional spatial puzzle that sets out a goal (through the information provided by our reference image), and the real meat of it is in how we go through the process of building up simple forms in 3D space, and how we combine them to build up to that intended goal. The end result doesn't actually matter - it's the process that allows us to gradually rewire the way in which our brain perceives the 3D space in which our drawings exist.

The drawings themselves really aren't bad - in fact, some of them are quite nice - but in a lot of ways they break away from some of the core principles of the course. For example:

• Drawabox asks us to focus heavily on the idea that everything we're adding to our construction exists in three dimensional space, as a solid entity, something that cannot be ignored when it suits us. So, those initial masses have to be treated as being real. There are often cases where cutting back into those shapes on the page might be a quick and easy way to refine its silhouette, but in doing so we operate in the 2D space of the page, and remind the viewer that what they're looking at is in fact just a flat shape, as demonstrated here. This can also occur when we modify our silhouettes in any way, including extending them out through the addition of other lines. These are things we could do in the previous lesson's leaves, but only because they're already flat. Doing so to something with volume to it simply breaks the connection between the shape on the page, and the 3D form it's meant to represent. Here's a quick diagram from Lesson 3 that explains the same concern. Instead, whenever we wish to add to our construction, we do so by introducing new, completely enclosed three dimensional forms that exist on their own within the scene, and we determine the way in which they relate to the existing structure in space, as shown here. You can see this in action with this ant head demo, and this beetle horn. Note how everything is introduced as its own completely enclosed shape, and it is through defining the way in which they relate to one another in space (either through the design of the silhouette, or by defining an intersection line) that allows us to interpret those shapes as 3D forms.

• Your linework gets really scratchy and haphazard in a wide variety of places, which shows that in your pursuit of a nice end result, you're falling back to sketching rather than adhering to the core principles of markmaking introduced in Lesson 1. Each lesson builds upon the one before it, and those techniques - especially the ghosting method, which should be used for every mark you draw throughout your constructions - should be what you employ in these drawings.

• In general I see a tendency to lean towards trying to decorate your drawings, especially when you hit your detail phase (though arguably you have a habit of jumping into details before laying down an entirely solid underlying construction). Decoration is a somewhat arbitrary thing, and a difficult goal to use as the bedrock for our approach. After all, it's difficult to determine when one has added "enough" decoration. Instead, 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.

So, inevitably this is going to require some revisions. You'll find them assigned below, and when you go through them, I want you to adhere to these following principles:

• Every single form you draw is a solid entity. Do not cut into its silhouette, or alter that silhouette in any way. Instead, build on top of it by introducing new, separate solid forms, defining the way in which they relate to one another in 3D space.

• Draw with your 0.5mm pen only. You can use your thicker pen if you need to fill in a shadow shape (whose outline has already been drawn), but not for line weight or drawing. In general, line weight isn't something you need to be using nearly this much anyway. When used, it should be kept pretty subtle and light, like a whisper to the viewer's subconscious rather than a very obvious shout. It is usually best to keep it focused on clarifying where different forms overlap one another, as shown here with these overlapping leaves.

• Also, remember that line weight is not about replacing existing linework and separating your drawing into two separate elements (an underdrawing and a clean-up pass). The first marks you draw are as much part of your final drawing as the last.

• Use the sausage method for the construction of all your insects' legs. It embodies the principles shared previously about building up additively with separate 3D forms. 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).