Starting with your organic forms with contour lines, these are coming along decently, but there are a few things you need to keep in mind:

• Keep striving to stick to the characteristics of simple sausages. I do believe this is something you're aware of, and it shows in most of your sausages, but there are some cases where you still tend to deviate from the specific properties we're looking for.

• Draw through all of your ellipses two full times before lifting your pen, as is required for all the ellipses we freehand throughout this course. This is mentioned back in Lesson 1.

• Remember that as we slide along the length of a given cylindrical form, the degree of each circular cross-section will steadily get wider as we move away from the viewer. Right now you appear to be drawing them with the same degree. I explain the reasoning behind this in Lesson 1's ellipses video.

Continuing onto your insect constructions, your work here is in a lot of ways coming along very nicely. Most prominent in my eyes is the fact that you're really doing a great job of adhering to the idea that every form you add to your construction is itself not just a shape or a line on a page - they're forms that exist, each of them, in a three dimensional space, and when we fuse them together, their relationships can be defined in that 3D space.

This is something I try to stress quite a bit in this lesson (specifically in my critiques of it) - the idea that once forms are put down on the page, that their silhouettes (which are just flat shapes that represent those forms) should not be altered, not through cutting into those shapes as shown here, and not through attempting to add to them or extend them through the use of partial flat shapes.

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 - but I am pleased to see that by and large you're applying this quite well throughout your work (aside from one or two places, like this bedbug's head), and your constructions feel considerably more solid and tangible as a result. This also has a positive impact on what you yourself get out of these exercises, as each one is pushing you to figure out how these forms relate to one another in 3D space, going beyond the flat surface of the page upon which you're actually drawing.

The only real issue of concern is that I noticed that you seem 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. 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, 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! I'll go ahead and mark this lesson as complete. You can feel free to address the points I raised here as you continue onto Lesson 5.