Starting with your organic forms with contour lines, the contour lines themselves are coming along quite nicely - they're smooth and evenly shaped, and fit snugly between the edges of the forms. Do however continue to work on the sausage forms themselves - I can see that you're clearly investing a lot of effort here, but there is indeed more room for improvement in sticking to the characteristics of simple sausages. You'll get there with practice.

Overall your insect constructions are coming along prety decently, and in many areas you're working hard to build up your constructions from simple to complex, and thinking about how your forms exist in 3D space. I did notice some things that I'd like to offer some advice upon, however.

Firstly, a minor point - remember that in lesson 2 I mention that we're not going to be getting into any shading in our drawings for this course. Sometimes students will move onto the texture phase of their drawing, and will mistakenly confuse the purpose of that phase as being to decorate their drawings and make them look aesthetically pleasing.

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, try to avoid your tendency to fall back on just adding shading/rendering when thinking about texture. Always think about what you're getting across to the viewer with every mark you add, throughout the entire drawing.

Secondly, I noticed a number of small areas here and there where once a form was added to the world, you went back in and redrew or altered the silhouette of that form. This was most often by cutting back into the silhouette of an established form. As we can see here on this bee, you started by laying down a simple, stretched ball form for the bee's head, then you went back in and cut into that silhouette to refine the head shape.

Because we're drawing on a piece of paper, this gives us a lot of control. While that sounds like a good thing, it isn't. All that control gives us a lot of freedom to draw in a way that undermines or contradicts the illusion we're attempting to create - the illusion that what the viewer is looking at is a three dimensional object, not just a flat drawing. Throughout every drawing within this course, we need to force ourselves to think of every little piece we add or introduce to our drawings as being individual, solid, three dimensional forms, because of how easy it is to slip up and draw in a way that reveals the fact that it is all a big lie.

The most common way students undermine that illusion is by manipulating the silhouette of a form they've already drawn, as you did with the bee and in a few other cases as well. Sometimes they do this by extending it out (like maybe to add a little spike), but the most egregious example is when students cut back into that silhouette, interacting with it in two dimensions instead of three. When doing so, students are usually trying to cut back into the construction, applying something called "subtractive construction", but because they're interacting with the silhouette (which is the 2D representation of the form), rather than the 3D form itself, it ends up flattening out the drawing as a result. You can see this principle explained here.

Another area where we can see you cutting back into your forms' silhouettes is with this dragonfly - both on its thorax and its abdomen, where you've added segmentation inside the silhouette, rather than wrapping the segmentation as new, separate forms, around the existing structures.

The last point I wanted to mention is that for the most part, you're actually doing a good job of constructing your insects' legs with simple sausage forms. It's not always perfect - you've got some cases, like this butterfly where some of the sausage segments are stretched ellipses rather than proper simple sausages but overall you're showing an awareness of the methodology and a clear effort towards trying to apply it.

To push forward on the idea, remember that the sausage method builds a simple structure for the legs. Once in place, we can then build on top of this base structure with more additional forms as shown here, here, 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).

I could see you attempting to do this in your bee drawing, but here you fell into just redrawing the silhouette of the sausage form, instead of actually adding complete, solid forms that wrapped around that existing structure. Always remember that every addition to our structures should be their own fully enclosed, complete forms. Always work in 3D space.

So! With that, I'll go ahead and mark this lesson as complete. These points I've mentioned here will be just as relevant in the next lesson, so feel free to continue tackling them there.