Alrighty, so given the lengthy feedback you've received in the previous submission, I'm going to try to keep this one brief, while still touching on any issues I see. I will tell you now however, that I will be marking this lesson as complete. It's not perfect, and there are definitely still instructions that you're missing (I'd say skipping but I don't think for a second this is intentional on your part) - but fortunately these are all things you can continue to address into the next lesson.

Firstly, the organic forms with contour curves. You're sticking to the characteristics of simple sausages, and you're widening the degree of those contour curves as they move farther back in space. However, you are forgetting to draw through all of your ellipses two full times, so make a note of that and do your best not to forget this in the future. I can also see several cases where you're not drawing through your ellipses in your constructions either - like the lobster's head mass. This causes it to come out quite stiff and somewhat uneven, which adds complexity to its silhouette and causes it to feel flat.

Moving onto your constructions, I actually should press a little harder on that front - one of the biggest concerns really does come down to your linework. It gives the impression that you're making your marks quite slowly, or at least without confidence - although it is possible that you're simply pressing too hard with your pen, which in turn would result in a slower execution. Try not to apply too much pressure - a decent fineliner will make a rich stroke even without pressing against the page too hard.

When constructing your insects' legs, there are three main issues present currently:

• Firstly, you are pretty much across the board forgetting to define the joint between the segments with a contour line. This is presented right in the center of the sausage method diagram and has been pointed out to you before in previous critiques. This is not something you should be forgetting. In general, defining the relationship between different interpenetrating forms is a very good way to make things feel solid - so it doesn't just need to be done on the legs, but is beneficial pretty much everywhere you're jamming one form into another. So for example if you look at step 1 of this shrimp demo, you can see how the intersections between each pair of masses is clearly defined.

• While for the most part you are sticking to the characteristics of simple sausages (or are trying to) for your leg segments, this beetle has some leg segments which are fundamentally not following this principle, and are instead very complex. As a result, they come out feeling completely flat. Do not deviate from the sausage method - I do understand that it may not always seem like all legs fit the "sausage" mold, but in the next point we'll discuss how even those can make use of this technique.

• Now this isn't something I've actually called out to you before, as there were many other things to resolve first, so this is not actually a mistake, but rather something to apply going forward. The key to keep in mind in regards to this technique 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).

Now, as promised I am marking this lesson as complete, but I expect you to keep these points in mind as you move into the next lesson.