Overall I think you've done a pretty great job. There are a few issues I'll address, but over the course of your homework you're showing considerable improvement in your use of the principles covered in the lesson, and as a whole your results improve a fair bit throughout the set.

Starting with your organic forms with contour curves, you're doing pretty well, with a few minor things to keep an eye on:

• You're generally doing a good job in keeping to the characteristics of "simple" sausages as mentioned in the instructions for this exercise, although you do have a tendency to stretch out the ends somewhat instead of keeping them properly circular. One thing that can help with this is to slow down a little - while maintaining a confident pace and not wobbling your line. As we practice the ghosting method, we steadily regain our ability to draw a little more slowly without falling into the trap of "steering" our stroke with our eyes, and so we can reclaim a bit of control. As soon as you start wobbling however, push your confidence again. It'll be a back and forth, but this should help you refine your sausage shapes a little more.

• The two sausages pictured in full here have contour curves that imply one thing about the form's orientation, and a contour ellipse that implies something else. Contour curves and contour ellipses are essentially the same thing - it's just that in this exercise, we're only drawing the contour line where it can actually be seen, not where it goes back around the other side of the form. So, if the tip of the form is pointed towards the viewer, we can ostensibly see the full contour ellipse as it goes all the way around. That said, when adding this contour ellipse, you need to know when an end of the form is pointed towards or away from the viewer. In this case, your contour curves all tell us that for the left of the two sausages, the top end is oriented towards the viewer, and for the right one, the bottom is pointed towards the viewer.

• Also, make sure that when you're drawing those contour ellipses that they follow the degrees of the contour curves preceding them. Don't make them really wide, as you've done in a number of cases, unless the ones preceding them are steadily getting wider. Again, it's just another contour line, except we can see all the way around this one.

• Keep working on getting your contour curves to fall more accurately between the edges of the sausage form. You're doing a good job of drawing them smoothly and confidently, but your ability to have them fit snugly between the edges does still have room for improvement.

Moving onto your insect constructions, as I mentioned before I'm largely very pleased with your results. Your earlier drawings definitely show some uncertainty with how exactly to work with these forms, how to combine them to create constructions that feel solid and believable, but I think that when you hit the louse demo, things started to make sense for you.

Your cricket drawing especially came out very nicely - I'm very pleased with the way you handled the segmentation along its abdomen, consciously wrapping additional forms around its body to create the impression of layering, and always interacting with it in three dimensions - never cutting back into the flat silhouette of your forms, but rather always wrapping things around in 3D.

The weevil continues this trend - a lot of students, when tackling the spines on its back - will fall back to drawing flat shapes, but you did a great job of adding clearly three dimensional cones, and reinforcing their solidity with intersectional lines that define exactly where those cones connect to the body. In truth, you probably don't need the other contour lines - the ones that define the relationship between two forms are often strong and impactful enough to make a form feel three dimensional on their own.

I have just two things to point out about your drawings, and they're fairly minor - so just things to keep in mind as you move forwards:

• You do have a habit of drawing some of these a little small. Not that small, but some did stand out as being a little more cramped, like the scorpion demo, the cricket, the weevil, the jumping spider. Our brain benefits immensely from the room it's given to work through spatial problems, so taking full advantage of the space available to you on the page really helps us to tackle these problems with a lot more freedom, and a lot more room to think. Drawing smaller can often cause us to cramp up and stiffen up, while also making us less likely to engage our whole arm when drawing.

• When tackling your insects' legs, remember that there's still a lot more detail there that represents as actual solid 3D forms - that is, as part of the construction. You've done a great job at nailing down the primary structures, but there is room to go further, once those are in place. This is a common concern, and I pointed it out to another student here. Look specifically at the leg drawing along the left side. You definitely go a bit further than that student (and your results are as a whole far stronger), but if you pay attention to the kinds of forms present along the joints of that leg, you'll see what I mean in terms of things being pushed farther.

So! All in all, your work here is very well done. I'll go ahead and mark this lesson as complete, so just keep these points in mind as you continue on.