Starting with your organic forms with contour curves, while the contour lines themselves are fine, it seems you probably didn't revisit the instructions for this exercise before tackling it, as you neglected the instruction about sticking to simple sausage forms. This is important, especially in the context of this lesson, as those simple sausages help maintain the illusion of solidity, which in turn become a major touchstone for our constructions.

Moving onto your insect constructions, since I'm now in hot pursuit of cases where you haven't held to the principles of the 'simple sausages', there are quite a few that jump out at me right off the bat. Looking at this page for instance, you're pretty flexible in how you construct your insects' legs, and don't adhere all that closely to the sausage method in some cases.

Continuing through the set, there are some places where you use the sausage method more correctly, but most of the time you tend to deviate from it. So, I figure this is something I should address. The thing about the sausage method is that students will pretty frequently look at their insects' legs and decide that they don't appear to match the definition of a chain of sausages. As such, they opt to use another approach more tailored to the specific situation.

The thing about the sausage method however is that the sausages is not where it stops. The sausages merely provide a base structure, or an armature, which is able to capture both the sense of solidity and gestural fluidity of the limb, something that most other approaches don't achieve simultaneously. Sometimes you'll end up with a leg that feels solid but stiff, or gestural but flat. The sausages allow us to balance both effectively. Then once that armature is in place, we can build on top of it, adding additional forms as shown here, here, and even here in the context of a dog's leg (since this technique is used for animals as well).

Note that the sausage method has three specific aspects to it:

1. The sausages must adhere to the characteristics of 'simple' sausage forms. That means two equally sized circular/spherical ends, connected by a tube of consistent width. The more you stray from this, the more it'll feel flat.

2. Ensure that the sausages overlap their ends.

3. Contour lines are placed right at the joint where forms connect to one another, and no others are required throughout their lengths. Contour lines that sit along the surface of a single form can help make a form feel three dimensional in isolation, but they're often not all that useful. If you look at your hercules beetle on this page, you've added loads of contour lines, but you'd have just as much impact with just one or two. More than that, had you clearly established how that horn form actually connected with the other structures with a contour line right at that joint, it might make the other contour lines entirely unnecessary. While the sausages on the spider here aren't perfect, you can see how most of the legs still feel really solid, despite only having those contour lines right at the joints. In fact, the ones where you did add additional contour lines don't come off quite as well.

Now, aside from this issue, the rest of your work is coming along quite well. Overall you're demonstrating a good grasp of how your structures exist in 3D space, and you're combining forms well. I have just a couple other minor things to point out, but all in all the work is as a whole coming along nicely.

• Remember that the filled black areas should be saved for cast shadow shapes only, otherwise when you have too many things contributing to solid black areas on your drawings, it gets confusing - for example with your ladybugs, and with the praying mantis' thorax.

• For the praying mantis, the little serrations along its claws didn't come out all that well. Part of this was definitely because the drawing was too small to allow for them. In this case I probably would have added fewer little spikes, just to ensure that the ones I did add still felt three dimensional. As far as making them feel three dimensional, the approach I use for the little serrations on the crab claw demo (which I saw you studied earlier on), specifically in how the little spikes exist as individual 3D forms whose base wraps around the structure of the claw itself, would definitely help. And of course, drawing bigger is always a good idea - don't worry about fitting lots of drawings into each page. Focus on making full use of the space that is available for the first drawing, and then if you suspect there's room for another, go ahead and add it. If there isn't though, there's nothing wrong with a page that consists only of one drawing, as long as it is making good use of that space.

So! I've laid out a few things for you to keep in mind, but I'm still pleased with your progress. As such, I'll go ahead and mark this lesson as complete.