Starting with your organic forms with contour lines, there are two main issues I want to draw your attention to:

• First off, you're not quite adhering to the characteristics of simple sausages as mentioned in the instructions. Make sure you keep the ends circular in nature and equal in size (right now they're more stretched out), and that you keep the midsection consistent in width.

• Watch the degree of your contour curves. There are a few places where I can see you making them wider as they move away from the viewer (which is correct) but in most cases you're still just maintaining a consistent degree.

Now, moving onto your actual insect constructions, by and large I am quite pleased with your results. I think overall you're doing a good job of building up your constructions from a series of simple forms, and while there are a couple issues I want to address, as a whole you're demonstrating a good grasp of how to work within 3D space.

The first issue I wanted to call out wasn't one that came up too often, but is still worth attention. It basically comes down to the fact that with a drawing, there are two ways in which we can interact with the object we're creating. One is as a 3D form - basically what we're doing with construction, introducing new 3D forms and defining how they relate to the existing ones in three dimensions. This one is what, at the moment, takes clearer effort and intent because it's not the "normal" thing to do. After all, we're drawing 2D lines on a flat surface. The second way we can interact with our drawing is as just that - a flat drawing, adding two dimensional elements, partial lines, partial shapes, etc. and not establishing how they interact with the structure in three dimensions.

I pointed out a few such cases here. A very common such mistake is where we cut back into the silhouette of a form. The silhouette is a 2D entity. It is not the form itself, simply its representation on the page, similar to how when an animal moves through the forest, it may leave footprints. You can look at the footprint to derive certain information about it - roughly how big it might have been, what kind of animal it was, etc. but if you go in and modify that footprint directly, it doesn't change the nature of the animal that left it. At most, it makes the footprint a lot less useful.

Instead, we need to always interact with the 3D forms themselves, in three dimensions. There are such ways to cut into existing forms, as explained here, but these are mostly used for geometric objects rather than organic ones. Instead we focus more on working additively - building up on top of the existing structure with new, completed forms.

To that point, a minor issue on the beetle on the right side of that page had some elements that weren't drawn as complete forms. Even if a form gets hidden by another, it's important that you build them up one by one, establishing how each one sits in space, and then defining the relationships between them.

The last point, which wasn't actually marked out on that page, has to do with how you added some of the little spikes coming off that right-side beetle's legs. These were also drawn as 2D shapes, because they don't establish how they actually connect to the legs themselves. You can see an example of how this can be done better in this crab claw demo. Even though the form's outline isn't drawn in its entirety, enough information is provided to establish how the base of each little serrated spike wraps around the base claw structure.

This actually brings me to the other overall issue I wanted to point out. 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. 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, with this ant's 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 - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

With those points laid out, I'll go ahead and mark this lesson as complete. As a whole I think you're doing a good job, and you can continue to apply the principles I've highlighted here throughout the next lesson.