Starting with your organic forms with contour lines, one key issue stands out - you appear to have forgotten about the requirement of sticking to [the characteristics of simple sausages](), and as a result, these are not as strong as they could be. The key to the way we draw in this course is focused heavily on ensuring that every single individual component we use - including sausage forms - are simple, which in turn allows them to feel solid and three dimensional. The more complexity inherently present in a form, the harder we have to work to make them feel believably 3D. So keeping these sausage forms simple - that is, keeping their ends equal in size and spherical, and maintaining a consistent, even width throughout their lengths - is very important.

Aside from that, be sure to apply the ghosting method to your contour curves in order to improve their overall accuracy. They're generally pretty confidently drawn, so they're coming out smooth (which is good), but every time your accuracy falters and the contour line fails to fit snugly within the silhouette of the form, you damage the illusion you're trying to create - that is, that the contour lines all sit along the surface of a three dimensional object.

Continuing onto your insect constructions, overall I'm fairly pleased with your results here. As a whole, you're demonstrating a pretty solid understanding of how the various forms you're constructing relate to one another in 3D space, and how you can build upon them in that three dimensional world, rather than just getting caught up on how they exist as lines and shapes on a page. There are a few places where you take steps that undermine this illusion in small ways however, that could be approached differently for a better result.

For example, the mandibles/pincers on this coleoptera beetle have serrated edges that were drawn incorrectly. You started out fine, establishing a simple form for each pincer, but ultimately you ended up cutting back into the silhouette of those forms to add the more complex detail. This is an action that occurred in 2D space, rather than 3D space, because the silhouette of our forms are themselves just two dimensional shapes that represent the 3D elements of our object.

When constructing objects, it's important that we never take an existing form's silhouette and try to alter it in order to add greater detail. Instead, we have to either build on top of it by introducing yet another solid, three dimensional form, or cut back into it along the 3D surface of the form, not the 2D surface of the silhouette's shape. Here's an explanation of the correct and incorrect ways to cut back into a form.

That said, when dealing with organic subject matter, subtractive construction generally doesn't work quite as well, so we instead rely more heavily on additive construction. Here's a beetle's horn built up using additive techniques. Focus on establishing how the new form relates to the existing structure.

Moving on from this, 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, 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 - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

The last thing I want to mention is just a simple reminder when it comes to texture, and what our goal is in adding it to our drawings.

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, remember that as discussed back in lesson 2, in this course we are generally going to avoid getting into form shading. Sometimes students slip up and end up shading their drawings, because what they're aiming to do is "decorate" their drawings - something they're doing essentially without a clear goal or purpose, just to end up with a pretty picture. So, understanding the actual goal of why we're adding texture should help you direct your efforts more meaningfully.

Aside from those points, your work is coming along well. I'll go ahead and mark this lesson as complete.