Starting with your organic forms with contour lines, these are mostly quite well done, although there are two things to keep in mind:

• Firstly, there are a few cases where you didn't quite adhere to the characteristics of simple sausages from the instructions - although for the vast majority, you did.

• Remember that as we slide away from or towards the viewer, and as the sausage form turns in space, the degree of the contour curves themselves will change corresponding to how their orientation relates to the direction the viewer is facing. Here you appear to be keeping most of the contour lines consistent in their degree, which gives them a bit of stiffness.

Continuing onto your insect constructions, for the most part here you've done an excellent job of employing the principles of constructional drawing to build up your various insects, focusing only on using simple forms at every stage to work your way up to greater overall complexity without undermining the solidity of your result. You've shown a good sense of spatial reasoning, and a strong grasp of how the forms you've drawn exist as solid, three dimensional forms within the same space, and how they relate to one another within that space.

There are only a couple issues I want to draw to your attention as you continue to move forwards through the lessons.

The first is an important point, but it only really manifests in your work in a very minor fashion. Still, it's worth taking the opportunity to talk about it. Take a look at this praying mantis. Notice the section I pointed to on the thorax? There it's clear that you'd started out with one simple form, and then in the next phase of construction, you opted to redefine its silhouette. This, unfortunately, was a mistake.

When we draw a form on the page, we're still only creating a two dimensional shape, but because of the way in which we've drawn it, it can maintain a relationship with a 3D form that exists in some imaginary 3D world. When we look at that silhouette, we see the three dimensional form. This does not mean, however, that the 2D shape of the silhouette is the same as the 3D form. They're connected, but not the same.

When we change the silhouette, we do not change the form - instead we break that relationship, leaving us with just the 2D shape. We can see this most obviously when looking at examples where a student might try to cut back into the silhouette of a form. As shown here, this leaves out a piece that is noticeably flat, which can undermine the impression of solidity across our whole construction. In that explanation, you'll see that there is a valid way to approach 'subtracting' from a construction in 3D space, but this is better suited to working with geometric subject matter, or hard-surface objects rather than organics.

The same thing occurs when we attempt to extend or otherwise change the silhouette. Instead, we need to focus on working additively - that is, every mark we add to the construction either adds a new complete, enclosed, 3D form to the structure, or somehow defines the relationship by two existing forms (like when we use contour lines to define the intersection between forms).

I recently put together this lobster demo showing a lot of this kind of additive construction, although most of your work did indeed employ additive construction as well. I'm not at all afraid that you don't understand it, but again - it's worth talking about, if only to really lay it down solidly.

The other thing I wanted to talk about was the use of the sausage method to construct our insects' legs. I can see that you definitely were using the sausage method, or parts of it, but I wanted to show you some ways in which it can be used more effectively. 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).

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