Starting with your organic forms with contour curves, there are a few points I want to call out:

• Firstly, it seems you did one page of contour ellipses, though the assignment was for both to be contour curves. Not a huge problem, but it does suggest that you may want to be more attentive when reading through the instructions.

• Be sure to focus as much as you can on adhering to the characteristics of simple sausages. You are generally keeping the forms simple, but you tend to have ends that are more stretched out into ellipsoid shapes, and a midsection that widens slightly, instead of aiming for circular ends of equal size, connected by a tube of a consistent width.

• Keep in mind that the degree of the contour lines corresponds to the orientation of the given cross-section, relative to the viewer. I'm seeing a lot of cases where you've got a given sausage oriented such that it's flowing across our field of view from one side to the other, where you've used wider contour lines than you should, as we see here. Those should be much narrower (though of course they should get wider as they move away from the viewer as well). I recommend that you review the Lesson 1 video on ellipses where this concept is described further.

• In many of these, your contour curves appear to not quite curve enough to wrap around the given form. There are cases where you're doing it right, but it's definitely something you're bouncing back and forth with. Give these notes a read, and be sure to regularly overshoot those curves as described there, as it can help with this a great deal.

Continuing onto your insect constructions, by and large you're handling these quite well. Normally in my critiques in this lesson, I encourage students to focus always on taking actions in 3D space - in other words, understanding how the things they're adding exist in 3D space, and drawing them in such a way that they respect and reinforce the illusion that the existing structure is similarly three dimensional, as opposed to taking actions in 2D space, like merely altering the silhouettes of the existing forms (as we see here where we cut into those silhouettes, as well as extending off them with partial shapes). For the most part however, you have held to this principle quite well on your own, save for a couple little places that don't really bear mentioning.

That said, I do want to provide you with the same diagrams I do when I explain this concept, to ensure that you're benefitting from the same resources - in the past there have been cases where a student demonstrated understanding of a concept, but because I neglected to provide the resources those who were running into issues, those issues arose further down the line.

• As we generally build up our constructions by adding new forms to the existing structure, taking the time to think through how we go about designing the silhouettes of those new forms is important, especially in cases where we need to establish how they wrap around that existing structure, as explained here. In essence, reserving inward curves and sharp corners for establishing how different forms press up against one another, and reserving simpler outward curves and softer corners where no such contact is made, helps create the illusion that one form wraps around another.

• Construction of relatively simple-seeming, small structures can be more involved than many students expect - for example, here's a demo of an ant's head.

I also encourage you to avail yourself of the "informal" demos here if you haven't already - the lobster and shrimp demos in particular are the strongest examples of this kind of approach we've got. As my overhaul of the course demo content reaches this far, I intend to replace everything with demos of this nature, but for the time being, these are the strongest representations of this more concrete approach to construction - where every form is complete, fully self-enclosed, and designed to establish its relationship with the existing structure - that we've got. It'll be improved as I'm able to progress more with the overhaul, but of course I'm working against a continuous flow of incoming homework submissions, that certainly slow that process down. Fortunately, I address any and all relevant changes in the feedback I provide for official critique submissions, so as long as you are attentive to the explanations provided in these critiques, you should be able to navigate through the inconsistencies. Just be sure to keep what I mention here in my critiques in mind, and even consider taking notes of such things so you can reference the mmore easily.

Moving on, I can see that you're making a notable effort to employ the sausage method when building up your insects' legs, although not always adhering to its requirements as necessary. There are a lot of cases where I can see that you're employing ellipses rather than sausage shapes, along with others where you similarly don't quite stick to the characteristics of simple sausages. Ultimately sausages can be quite challenging to capture, especially when they get skinnier - but I am seeing signs that you may need to refresh your memory on those requirements. Similarly, I'm seeing cases where you're either neglecting to draw the contour line necessary to define the joint between such sausage segments, and cases where you do attempt to draw such a contour line, but place it outside of the overlap between them as we see here. In general, be sure to review the use of this technique further.

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). Just make sure you start out with the sausages, precisely as the steps are laid out in that diagram.

Now, the last thing I wanted to discuss is related to your questions - which you can rest assured, I haven't ignored - but I didn't want to get into it until the rest of the critique was established. To put it simply, when doing your drawings for this course, you should not be applying any form shading to your constructions, as noted here. This is another one of those things that is represented rather inconsistently in the demos - since it's a shift I've made in the last few years as we've further developed the specific approach to texture we're employing in order to push the focus on 3D spatial understanding above all else.

I actually did explain this this in my critique of your Lesson 3 work, so I won't repeat it here - rather, I suspect that you may have forgotten those points, and then may have gotten further confused by the inconsistencies in the older demonstrations. So, I encourage you to go back and read through the feedback you received in the last lesson, and apply it more staunchly going forward.

Anyway, before I mark this lesson as complete, I do think it will be in your best interest to take another swing at the organic forms with contour curves.