Hello Motheronion, thank you for responding with your revisions.

Starting with your organic forms with contour curves, you’re doing a good job fitting them snugly against the sides of the form, and hooking them around so that their curvature accelerates as they reach the edges of the form.

I can see you’re experimenting with varying the degree of your contour curves, which is great. Keep in mind that the degree of your contour lines should be shifting wider as we slide along the sausage form, moving farther away from the viewer. This is also influenced by the way in which the sausages themselves turn in space, but farther = wider is a good rule of thumb to follow. If you're unsure as to why that is, review the Lesson 1 ellipses video. You can also see a good example of how to vary your contour curves in this diagram showing the different ways in which our contour lines can change the way in which the sausage is perceived.

Moving onto your insect constructions, it is good to see you sticking more closely to sausage forms for your leg armatures, and you’re showing a good understanding of how to apply a contour curve at the joints to show how the forms intersect- they’re not always present, but the ones that are there are done well. I’m happy to see that you’re being quite conscientious about “drawing through” and completing your forms where they overlap, so you can connect them together in 3D space, good work.

You’re still a bit prone to altering the silhouettes of forms that you have already drawn, and I’ve marked in red some places where it looks like you’d cut back inside forms you had already drawn on all 3 pages in this album. Most of these alterations are fairly small, and I think it often comes down to two things.

• Sometimes where there is a gap between passes around your ellipses, you’ll choose the inner line as the silhouette of the ball form you’re constructing, leaving stray lines outside the construction. We want to use the outer line of ellipses as the form’s silhouette, to avoid accidentally cutting back inside them.

• You seem to be starting your constructions off with fainter lines, then coming back at a later stage to trace over the lines you want to keep visible. This causes alterations to the form’s silhouettes, sometimes accidentally, where the initially smooth confident lines get wobblier as you draw over them, or sometimes as result of a more deliberate attempt to refine the forms as you go. Tracing back over the visible parts of the construction tends to switch a student’s focus from working in 3D and drawing complete forms, back to drawing individual lines and thinking about how they cross the flat 2D surface of the piece of paper. Starting with faint lines can also lead to students as treating their first foundational forms as less solid, or less real, than the later stages of construction, and can exacerbate the tendency to undermine their solidity by treating them as a rough guide. I strongly encourage you to maintain a more consistent line thickness through the various stages of construction, and at each step only add the parts that change rather than completely redrawing forms. Once you’ve put a form on the page, that’s essentially a problem you’ve solved. You don’t need to solve it again by redrawing it. Remember additional line weight should be reserved for clarifying overlaps, as discussed in the lesson 1 video I shared with you previously.

Now, all in all, you’re doing pretty well. I can see your spatial reasoning skills developing nicely and I’ll be marking this lesson as complete. Please keep working on the points discussed here as you tackle your animal constructions, where they will continue to be just as relevant.