Starting with your organic forms with contour lines, one point that stands out is that your sausages didn't quite adhere to the characteristics of simple sausages described in the instructions. While there are a number of sausages that are relatively simple, even those continue to widen slightly (but noticeably) through their midsection, or have ends that are more stretched out and not quite circular. Make sure that you're drawing sausages that are essentially two equally sized spheres connected by a tube of consistent width.

In addition to that, you've been drawing your contour lines with the same degree throughout their lengths. As discussed back in lesson 2, these contour lines should be getting wider as they slide away from the viewer, as shown here. The contour lines' degree represents the orientation of that cross-section of the form, relative to the position of the viewer.

Moving onto your insect constructions, I'm seeing a pretty wide variety of results, but there are definitely a number of areas where you're demonstrating a strong grasp of how the forms you're constructing exist in 3D space. There are however certain issues that I do want to touch upon.

My first concern is that it is critical you treat every form you construct as though it is part of your overall construction. It can be tempting to treat the initial masses we block in as though they're just initial sketches that we will ultimately ignore, but that is not the case. When we lay in a ball form for the head, that is the basis upon which we'll be constructing the rest of the forms. Looking at this beetle, you drew the forms that followed around the head, but did not establish their relationship with it in 3D space, resulting in the impression that it sits floating loosely within the larger structure. Instead, approach your constructions as shown here on this ant head.

That is to say, we build upon it piece by piece, defining how each individual addition attaches to the structure. The relationships are all clearly defined, so our result feels grounded and solid.

A second, related point I wanted to mention actually only comes up in this early ant drawing, and it's clear that you moved on from that approach. Still, I really want to drive this home - once you establish a solid, three dimensional form, do not redraw or modify its silhouette. For example, we can see how the thorax was blocked in, but then its silhouette was adjusted with darker lines, and even extended to add a spike that otherwise did not exist as its own separate form. Modifying a silhouette - either by extending it as done here, or by cutting back into it (as shown in these notes) will flatten that form out. Construction must be performed by making changes in 3D space, and since the silhouette is a two dimensional representation of a 3D form, changes made to it only break the illusion. Along with the ant head demo linked previously, you can see this kind of additive construction being used here in this beetle horn demo.

The abdomen of this praying mantis is guilty of a similar issue, where it apears that you opted to redraw the abdomen, having two distinct and separate forms occupy the same space without any clear relationship being defined between them. I don't often see anyone doing it quite as confidently as this, so kudos to you for that, but it is still something you should not ever do. If you catch that you made a mistake, you've already committed to a particular course of action, and need to stick with it. Ultimately we aren't that concerned here with matching our reference image perfectly - the point is to construct something that is believable, and until you opted to redraw that section entirely, you did have an entirely believable construction. To that point, what you ended up doing with your grasshopper was, though not as pretty, much more appropriate for the purposes of these exercises.

The last point is that I'm largely pretty happy with how you've constructed your insects' legs - you've adhered pretty closely to the sausage technique introduced in the wasp demo. This technique will be employed quite a bit through the next lesson as well, though you may run into situations where it doesn't quite feel like sausages quite capture the forms you're after correctly. To that point, I just want to really drive home the notion 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.

So, as long as you start out with the basic sausages, you'll have a solid structure upon which to build further.

Now, I'll go ahead and mark this lesson as complete. Just make sure to practice your organic forms with contour lines more, and review the instructions so you know precisely what is being asked of you there. It's easy to forget without even realizing it.