Before we get started, I want to say that it's been a long time since you've submitted this so hopefully this still counts as proper critique.

With that said, starting with your organic forms, these are looking great in general! I can see that you're adhering to the characteristics of a simple sausage as explained here in the instructions although there is still some deviation here and there. Remember that sausages are two balls of equal size connected by a tube of consistent width. You sometimes end up with a bit of pinching in the midsections or ends that are not equal in size but they're not far off.

I also noticed you contour curves have the same degree throughout the length of the sausage on some of them. Remember that, as discussed in the lesson 1 ellipses video that these should get wider as it moves away from the viewer along the sausage form.

Moving onto your insect constructions, overall I think you've done a pretty good job on them. I'm pleased to see that you're building these solid three dimensional forms in phases, defining how these forms sit in space and their relationships among one another. There are a few things I want you to direct your attention to.

First and foremost, as much as i appreciate your enthusiasm for filling up your pages with lots of drawings, the most important thing is to make sure that you're giving ample room as a drawing requires. Drawing smaller has its downsides, it can limit our brain's ability to solve spatial problems and with engaging our whole arm while drawing. Both of these make the drawing process clumsier and impede what we get out of it.

If there's only enough room on the page for 1 drawing, that's totally fine. Whether you can fit another is completely up to you. There's no strict requirement that every page has to have 3+ drawings on it. The most important thing is that you have enough space to do these to the best of your ability. So keep that in mind.

When adding forms in your constructions, do not alter silhouette. The silhouette represents the form we're drawing but its connection to that form is based on its current shape. By changing that that shape, you wont alter the the form it represents, you'll just break the connection. This example shows us what happens when we cut back into the silhouette of a form.

You can run into this trap even by extending the silhouette by adding flat open shapes. There are a few examples of this happening:

• On this cricket, I marked in red where you drew a much larger form for the abdomen, then you traced with darker lines, cutting back into it. In blue, I marked how you could've added these forms to establish how they wrap around the major masses. A similar thing happened on this firefly. It appears as if though you didn't follow your constructions closely and just drew whatever you saw.

• Same thing happened on the horns of this beetle. By extending the silhouette, you introduced flat partial shapes.

• When drawing the spikes of this larvae, you've jumped to complexity a bit too soon there. This is the result of tackling something new so its not entirely your fault.

Instead, if we want to change what's already there, we should introduce other three dimensional forms and establish the relationships between the additional masses either by defining the intersection with contour lines (as mentioned in lesson 2's form intersections) or by having them wrap around one another, where the presence of one form displaces the other. You can see this in practice in this beetle horn demo and this ant head demo.

I also recommend the first two informal demos, the shrimp and the lobster, as they show how you should think about wrapping these plate-like forms around the insect abdomen area. This is all about accepting that everything we see is three dimensional and getting the viewer to believe in the lie we are trying to create.

As a whole, i feel like these are things you understand. But by more clearly defining them, you should be able to move forward with more solid constructions.

Moving onto the topic of legs, I noticed you seemed to employ a number of different strategies here. While not uncommon for students to be aware about using the sausage method, but instead they decide not to adhere to them because the legs they're looking at don't actually look like a chain of sausages to them.

The sausage method as a base structure allows us to capture the solidity with the gestural nature of legs. Once in place, we can lay in additional masses to convey the complexities as shown here, here, this ant's leg, and even in this dog's leg. This'll become relevant coming into the next lesson where we stack forms on top of one another (as per the organic intersections exercise from Lesson 2).

I can see that you drew the veins on these as simple lines. When applying texture, remember to think of the veins as a series of small tubes casting a shadow rather than just lines. You can see an example of this on the leaf exercise instructions from Lesson 3.

Lastly, there is an issue with your line weight. I'm seeing heavier marks along the silhouette on some of these for no particular reason. Remember that line weight shouldn't be used loosely like that. It's a tool with a specific use, meant to be applied locally to clarify overlaps of one object over another.

Overall, i feel like you've done a good job on it. You seem to understand the relationships between the forms you're creating. Just a few things to help steer you in the right direction. I'm marking this as complete.