Starting with your organic forms with contour curves, there are a few issues that stand out:

• It looks like you aren't going through all of the steps of the exercise. Specifically, you're skipping this step which has you draw a central minor axis line through the middle of each sausage, to help in the alignment of the contour lines themselves.

• You need to be drawing through each and every ellipse you freehand throughout this course two full times before lifting your pen, as discussed back in Lesson 1.

• While a lot of your sausages (especially on the last page in the album) are pretty close, keep pushing to adhere more closely to the characteristics of simple sausages - that is, consciously avoid any widening or narrowing through the midsection, and keep the ends circular in shape and equal in size. While I don't expect students to be able to do this perfectly, you're deviating enough from those characteristics to suggest you may not be consciously aiming for it as a goal, especially on this page.

• Your linework is pretty noticeably wobbly, suggesting to me that you're executing the marks much too slowly. Slowing down your execution is okay, but you still need to prioritize the execution of a smooth, confident stroke first and foremost to avoid any wobbling. Be sure to apply the ghosting method and execute these marks from your shoulder, using your whole arm.

• Lastly, you appear to be maintaining a consistent degree across all your contour curves as you slide along the length of a given sausage. Instead, as explained back in Lesson 1's ellipses video, those contour lines will widen as we slide along the length of a given sausage, moving away from the viewer.

Continuing onto your insect constructions, you've got a bit of a mixed bag here. There are definitely clear signs that your understanding of 3D space, and your belief in the illusion you're trying to create on the page, is strengthening as you progress, but there are a number of aspects of your approach, and the general direction of your goals for each drawing here, that need to be adjusted to get the most out of each one.

To start, I feel that with each drawing, what you're aiming for is largely a focus on creating a pretty picture as an end result, and in doing so, you're kind of veering away from what this course is actually focused upon. Every drawing we do here is an exercise - they're all little three dimensional spatial puzzles, and in solving them, we're rewiring the way in which our brain perceives the space in which the things we draw exist. The focus isn't really on how that end result turns out, but rather the process we apply to each individual drawing, and the impact it has on our brains.

Right now, I can definitely see that when you get into the detail phase of a drawing, you get pretty caught up in the idea of decorating your drawing, ensuring that it looks as nice as you can manage. Decoration isn't all that concrete of a goal however - after all, it's not really clear when one has added "enough" decoration. 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.

One thing that helps in working towards that is to reserve your filled black shapes for cast shadows only. Ignore all form shading (as discussed in Lesson 2, and ignore all local surface colour (like striped patterns and such), treating each object like it's of a plain white colour in its entirety. Ensure that every single filled black shape you draw defines the relationship between a specific three dimensional form (be it a larger, structural, constructed form or an implied textural form) and the surfaces around it. This means that when you embark on the process of designing such a shadow shape, you're always thinking about a specific form and its spatial relationships. Do not focus on simply drawing what you see on the reference image, as this will cause you to skip over understanding what actually causes them to exist.

Continuing on, I also noticed a tendency to jump back and forth between interacting with your constructions as though they exist in 3D space, and interacting with them as flat, two dimensional drawings. Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

I can see this a great deal throughout your constructions, where you've drawn a simple structure, and then on top of it you've drawn something more complex, zigzagging back and forth across its the simpler silhouette as though it wasn't actually there. An easy example is this ant's head, where in red you've cut back into the existing silhouette, and in blue you've extended it. Both of these actions occurred in the two dimensions of the drawing, rather than in the 3D space in which the object is meant to exist. It's also worth calling out that the mandibles themselves were drawn by jumping into way too much complexity too soon, which also will flatten out the structures you draw.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. It's especially worthwhile to compare the approach employed in the ant head demo to your ant drawing.

This approach and manner of thinking is all part of accepting that everything we draw is 3D, and therefore needs to be treated as such in order for the viewer to believe in that lie.

The last thing I wanted to talk about was your leg construction. For the most part I can see that you made an effort to apply elements of the sausage method mentioned in the lesson, with some deviation here and there (cases where you didn't stick to the characteristics of simple sausages in a number of cases - for example, your bee's legs.

In this hercules beetle you definitely made an effort to build on top of the simpler sausage structure - your intent there was absolutely on the right track, but unfortunately this is another prominent example of you cutting right across the structures you'd already drawn, and largely working in 2D rather than building upon them.

The key to keep in mind here is that the sausage method is not about capturing the legs precisely as they are (as you tried to do with the bee's legs) - 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, in 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). So again - the hercules beetle was a step in the right direction, but these demonstrations show how you could instead build upon the sausages with more solid, completely enclosed three dimensional forms, defining how they wrap around what's already there as discussed previously.

So! I've pointed out a number of things I'd like you to work on, so I'm going to assign some additional revisions to address those points. You'll find them listed below.