Starting with your organic forms with contour curves, these are generally coming along pretty well. You're making a conscious choice to stick to the characteristics of simple sausages, and while a few of them have ends that come out a little stretched (not entirely circular), it's clear that you're aiming in the right direction. The contour curves themselves are a little hesitant at times though, which leads to a touch of wobbling, so keep an eye on that and keep working on achieving a confident execution. Also, mind the degree shift for your contour curves, which is explained in this section as well as in the newly updated ellipses video. Basically, the degree of the contour lines needs to shift, getting wider as we slide away from the viewer.

Moving onto your insect constructions, there's both good and less good here, but overall I think the main issues can be addressed fairly easily. In terms of strengths, I'm seeing you working with a lot of separate components, building your constructions up to better understand how they eixst in 3D space.

The main issue I'm seeing is that you seem to be separating your drawings into lines that are drawn more faintly, and lines that are drawn to be much darker and heavier. It seems very much as though you're starting with a more explorative "underdrawing", then only drawing the lines you really want to include as part of your actual construction afterwards, drawing them with a heavier weight to make them stand out against the previous ones. This approach, as explained here in Lesson 2's form intersections isn't appropriate for this course.

First and foremost, it is extremely important that you treat every single form you draw as being a solid, tangible part of the construction. If we allow ourselves to approach out drawings with the flexibility and freedom of simply putting marks down on a flat page, then we leave ourselves open to making the kinds of marks that remind the viewer that they're just looking at a drawing - not at an actual 3D object. One way we can keep ourselves from doing that is to ensure that once we've added a 3D form to the construction, we do not redraw or alter its silhouette at all.

For example, looking at this one, I've highlighted one of many areas where you cut back across the silhouette of a form you'd constructed. We can see this at play quite a bit throughout its legs as well. You appear to have reinforced the inner line weigh line weight to refine the silhouette - but unfortunately in doing so, we don't actually change the nature of the form that exists in 3D space. We merely break off the connection between them, leaving us only with the impression of a flat shape on the page.

Here's a demonstration of why this flattens out our drawing. While that example shows it in the context of cutting back into a silhouette, it happens when we make any 2D modifications to our drawing, including extending out a silhouette, redrawing a silhouette entirely, or adding flat shapes - for example, where you added spikes onto the same insect's head, where each one was drawn as an open shape rather than a full enclosed 3D form.

Instead, we have to work purely through the addition of new, complete, enclosed, 3D forms, defining their relationship with the existing structure either by adding a contour line to establish how they intersect (like lesson 2's form intersections), or by modifying the silhouette of the form so it actually wraps around the existing structure where it makes contact as shown here. Here are some examples of additive construction, in this beetle horn demo as well as in this ant head demo.

So that's basically the big issue. You seem to be running into it primarily because of how you try to use line weight, going back over lines to establish a "clean up pass" and distinguish the lines you want to keep from those you'd prefer be forgotten. Unfortunately, that's not how line weight works - at least within the context of this course. Line weight serves to clarify how specific forms overlap, and should be limited to localized areas instead of being drawn all the way around the silhouettes of your forms. Also, line weight should be kept quite subtle (shouldn't be really obviously heavy), and should be drawn with confidence using the ghosting method instead of traced more carefully over your existing lines. This is because we don't want to get caught up in following the line as it exists on the page. Anything that reminds us or the viewer that we're really just drawing lines on a page should be avoided. Always think in 3D space, or strive to.

So for example, looking at this praying mantis, the use of heavy line weight ends up working to really flatten things out. While line weight has to be quite subtle, just a whisper to the viewer's subconscious to clarify how those overlaps are arranged, we can of course be much more broad and bold with our cast shadows. The only difference is that cast shadows can't just cling to the silhouette of a given form - they have to be cast onto another form's surface. Sometimes students confuse the two, leading to very thick line weight.

In regards to the appropriate use of all this additive construction, putting your early lines down confidently (instead of lightly and faintly) and so on, I'd recommend you take a look at this more detailed lobster demo from the informal demos page. Pay attention to how I work through every step, and how every form I construct is respected as an important part of the overall result.

Looking at how you approach your leg construction, I can definitely see that you're making clear efforts to stick to the sausage method. That is good to see. Taking that further, here's an approach you can employ to more effectively build upon those base armatures, to build up more bulk where it's needed. Wrapping forms around each other in this way - ensuring that the silhouette actually makes direct contact with the underlying structure, so the 3D relationship can be more clearly defined (even if this means breaking it into multiple additional masses) can work very effectively, both in constructing legs, as well as in other circumstances. You can see this at play both in this ant leg demo and even in this dog leg demo, as this will be used extensively in Lesson 5 as well.

So! I've shared quite a bit with you here. While I do feel overall you're moving in the right direction, I do want to give you the opportunity to apply what I've pointed out here. So, I'm going to assign a few revisions below.