Starting with your organic forms with contour lines, you're moving in the right direction and your contour lines are definitely drawn confidently and with a fair bit of control, but the actual shape of your sausages definitely has room for improvement. Remember that the "characteristics of simple sausages" (as explained in the instructions) that we're looking for here are quite specific. We want the sausages to feature two circular ends of equal size. Avoid having them get pointy, stretched, or squashed. The sausages should essentially be a sphere, cut in half, and then pulled apart with a tube connecting their ends, with no pinching or swelling through that midsection.

It is worth noting that your second page is better than the first in this regard, but there's still room for improvement. Slowing down your execution of the mark (while still continuing to maintain a confident, hesitation-free stroke) may help you keep greater control of that shape. As soon as your line starts wobbling though, speed up again. It gets easier to execute confident marks at slower speeds as your confidence increases.

Moving onto your insect constructions, there's definitely a lot of good here. You're showing a good grasp of some of the core principles of how we build up our constructions by combining separate, solid, complete 3D forms, building them on top of one another to achieve greater complexity as we go. There are however some issues I'd like to point out.

The first of these is a pretty strong tendency to start your drawing with a visibly fainter, less 'committed' line than what follows. For example, if we look at this louse, we can clearly see that you started with those initial masses (the head, the thorax, the abdomen) and drew them more faintly than everything else that was added afterwards. This is incorrect, because it draws a distinction, as though those early masses aren't really there, as though if you could, you'd erase those lines to make the final drawing cleaner.

Instead, you need to completely buy into the idea that every single mass you draw is a new solid, three dimensional form being introduced into the world in which this object you're drawing exists. It isn't a guide to help you draw the "real" stuff - it's a solid structure, and anything drawn thereafter needs to be attached to it. This means that you shouldn't be drawing it with a different kind of mark (fainter vs. heavier) than everything else. They should all be drawn with the same kind of stroke, confidently, without any effort wasted on distinguishing them.

That leads to the next point - once you've drawn a form, do not attempt to alter or redraw its silhouette. Students will often do this as a sort of shortcut to "refine" a form and add further detail to it, but what it actually does is flatten out the drawing. The silhouette of a form is just the 2D shape on the page itself that represents that form. Changing the silhouette doesn't change the nature of the form, it merely breaks the connection between them, leaving us with nothing but a shape that reads as being flatter. We can demonstrate this most easily by looking at what happens when we cut back into the silhouette of a form.

Instead, we need to make sure that every new change we make to a drawing occurs in 3D space, by introducing new 3D forms that either intersect with or wrap around the existing structure. You can see this in this beetle horn example as well as in this ant head demo. It is also used extensively in this more recent, detailed, lobster demo.

Your drawings definitely do make extensive use of this kind of additive construction (which I noted early on), but you are definitely more willing than you ought to be when it comes to breaking and bending such rules freely, depending on the case. That is generally how drawing works - the rules exist to ensure that our brain is always understanding what we draw as a 3D structure, and not just a drawing, and the goal we're working towards is to build up our spatial reasoning skills to such a point that we can do this without all of the extra linework. But that's the purpose this course, as a whole, and all of the drawings you do for it, serves. We do things explicitly here, to train our instincts and to rewire our brain and how it sees the world.

Another point I wanted to call out is that you appear 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. I noticed quite a bit in your case that you tend to use stretched ellipses rather than sausages, which are as mentioned in the bottom left of the sausage method diagram, not the same thing. 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 wanted to call out is that back in Lesson 2, we discussed the fact that form shading should not be included in the drawings you do for this course, and it seems that you may have forgotten this. When you hit the detail phase, instead of employing textural techniques from Lesson 2, you focus more on decorating your drawing, which is not exactly correct.

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.

Now, all of the issues I've called out here will continue to be relevant throughout the next lesson. As such, instead of asking for revisions, I am going to mark this lesson as complete. I expect that you will demonstrate your understanding of these points I've raised when drawing animals.