Starting with your organic forms with contour lines, you're doing decently here, but there are a couple of things I want you to keep an eye on:

• While you're doing a decent job of sticking to the characteristics of simple sausages in many cases, there are some where one end gets much larger than the other. Try to avoid this, sticking to circular ends of equal sizes connected by a tube of a consistent width.

• The degree of your contour curves appears to be remaining fairly consistent throughout the length of your given sausages. Instead, as explained in the Lesson 1 ellipses video, we actually want them to get wider as they slide along the sausage away from the viewer.

Moving onto your insect constructions, I can see that you've definitely improved over the course of the set, and you're very much moving in the right direction in terms of how you interact with many aspects of these three dimensional structures that you're creating. I do however have some issues to point out that I feel will help you push even further, and resolve certain things that are holding you back.

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

There are some minor places where you appear to do this, the bigger concern is about altering those silhouettes in general, and working in two dimensions in general. This is something we see more prominently, like in the areas where you bridged across the major masses in this ant, as well as its mandibles.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. This is all part of accepting that everything we draw is 3D, and therefore needs to be treated as such in order for the viewer to believe in that lie.

While I do feel there are places where your observation was certainly weaker (for example looking at that same ant's head, compared to the ant head construction demo I linked above), this was primarily more of an issue earlier on. Just make a habit of looking closer at the heads, and with everything focus on how they all exist as simple forms that fit together like a three dimensional puzzle. It's easy to give into the temptation to just stick eyes on something like stickers - but really figuring out how they're meant to be grounded within the structure will help push your understanding of 3D space much further.

Moving on, I noticed that you seem to have employed a lot of different strategies for capturing the legs of your insects. It's not uncommon for students to be aware of the sausage method as introduced here, but to decide that the legs they're looking at don't actually seem to look like a chain of sausages, so they use some other strategy. In your case, I suspect you may be trying to apply the sausage method, but instead end up applying what you remember of the sausage method. Make sure that you study the diagram linked above.

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). Just make sure you start out with the sausages, precisely as the steps are laid out in that diagram.

While there are certainly plenty of areas for you to improve upon, I think you can certainly do so as you work on the next lesson. So, I'll go ahead and mark this one as complete.