Starting with your organic forms with contour lines, you've done a good job here of largely sticking to the characteristics of simple sausages. There are a few cases where the ends get a little more stretched out, rather than remaining entirely circular, so keep an eye on that - but all in all you're doing well. The contour lines are also coming along great - they're smooth, confidently drawn, and wrap nicely around the surface of the sausages.

Moving onto your insect constructions, you are overall moving in the right direction and show a good bit of focus towards building up your constructions with individual, simple forms, gradually working your way up to greater complexity. That said, there are some issues I want to call out to help keep you on the right track throughout the process, and to ensure that your focus is spent in the right places.

As a whole I really am quite pleased with the focus being placed on additive construction. Where some students at times will try to redraw or cut back into the silhouettes of the forms they've drawn (which for the reason shown here flattens out a construction) you've mostly stuck to starting smaller and building on top of those components. There are a few places where you cut back into your silhouettes, like this wasp's head, so note that you should be building additively as shown in this ant head demo, but overall you do hold to that fairly well.

The first thing I wanted to call out however is that your linework is at times a little hesitant, resulting in lines that come out a little stiff. For example, if we look at the initial masses of this beetle, I did notice that there was definitely some hesitation behind those ellipses, and you don't appear to have drawn all the way around the elliptical shapes two fully times before lifting your pen. Drawing through ellipses is important, because it helps give us the momentum to keep the stroke confident and smooth, and in turn keep the ellipses evenly shaped. It's a subtle thing - the hesitation behind your linework doesn't really stand out that much, but it is something to be aware of. There will be situations where you don't feel entirely confident in the mark you want to make. In these cases, take a step back, go through the ghosting method's planning and preparation phases, and then commit to whatever mark you draw with confidence. If it comes out badly, that's okay, and we have to be able to accept that.

That also means avoiding any urges to go back over lines after the fact, which I see a bit of here and there throughout your work. One mark per line, ghosting method for everything. These are the rules we follow to ensure that every mark is the result of conscious planning and forethought, and that as we train our instincts here, we refrain from attempting to rely upon those same instincts.

Moving onto your use of the sausage method for constructing your insects' legs, in most areas you have adhered fairly well to these principles. There are some ways in which you've deviated - for example, not sticking to the characteristics of simple sausages (in some places it'd be small variations like having the midsection pinch rather than maintaining a consistent width throughout a given sausage's length, and in other cases you did fall into drawing ellipses rather than sausages), but all in all you do appear to be trying to adhere to those principles. Also, don't forget to reinforce the joint between your sausage segments with a contour line as shown in the middle of the sausage method diagram - this is important because it establishes a relationship in 3D space between your forms.

When it comes to building upon your sausage structures, you're off to a good start. The way I recommend you approach this kind of additive construction is as shown in this diagram as well as here. The key is to establish a clear relationship between the added form and the existing structure, having the silhouette of the new form wrap around the surface of the other. This sometimes means introducing multiple forms instead of simply "enveloping" the existing structure in a new form, and ending up with one floating inside the other.

Here are a couple examples of this being used:

The last thing I wanted to talk about was that when you get into texturing your constructions, in some cases (for example this one) you definitely get more focused on decorating your drawing, rather than considering the clear purpose of that addition of texture. 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.

It's not uncommon for students to just blindly try to make their drawing look good, and in doing so they'll fall back to things like adding form shading (which as discussed back in lesson 2) is not to be included in your drawings for this course. Always think about what the marks you're drawing achieve in terms of communicating to the viewer, and focus on communicating information that can be touched and felt, rather than focusing on what can merely be seen.

All in all I am still pleased with your progress, so I'll go ahead and mark this lesson as complete. Just be sure to keep these points in mind as you move forwards.