Starting with the organic forms with contour lines, these are looking pretty good, but always remember that we want to strive to stick to the characteristics of simple sausages. I noticed that many of your sausages had ends of different sizes, which adds to the complexity of the form.

Moving onto the actual insect constructions, your work here is generally looking quite well done. I actually only have a few minor things to point out. As a whole you've done a great job of constructing solid, three dimensional forms and combining them without undermining that impression of solidity to create insects that feel real, maintaining a clear relationship with 3D space.

One thing I noticed was that while you're doing a pretty great job of adhering to the sausage method as explained in the instructions, there often is a greater level of complexity and nuance that one can achieve on top of that. The sausage method itself establishes a sort of base structure or armature, but we can then go on to wrap more forms around it as shown here and here to capture more of the nuanced elements present in most insects' legs. You can see here how it'd be applied to an ant's leg, and even here how it'd be applied to a dog's leg - as this technique is just as relevant in the next lesson.

The other point I wanted to call out was very minor - just remember that when we fill in a shape with solid black, we always want to reserve that for the cast shadows of our forms only. That is, when a form blocks the light source and projects a shadow onto the areas surrounding it. These forms in question can be the larger constructed forms, or smaller textural forms. The main point here is that if you find an element of a construction that itself is black (like the eyes of this spider), you should not reach to fill it in with solid black. Treat every surface as being the same flat white or grey colour.

Every part of our drawing basically exists to communicate some aspect of physical form and how that form exists in space. In construction, we're conveying to the viewer what they need to know to be able to manipulate this object as though it were in their hands. With texture, we're conveying what they need to know to understand how it might feel to run their hands over the object's various surfaces. All of this relates to 3D form - texture, after all, is just little bits of form at a smaller scale.

Local colour and patterning, however, are entirely separate. You can't feel it or touch it, and so it's not really something we'll pay attention to in this course.

Admittedly I went on about that topic for a while, despite the fact that it's an issue I only saw once. That is entirely because I have nothing else to comment on - the rest of your work was executed very well, with a solid grasp of construction and form. As such, I'll go ahead and mark this lesson as complete. Keep up the great work.