Starting with your organic forms with contour lines, there are a couple issues that jump out at me:

• First and foremost, you're not sticking consistently to the characteristics of simple sausage forms as mentioned in the exercise. This is especially important as we get into this particular lesson because the simplicity of the form is what allows it to feel solid and three dimensional, making for an effective base component to a more complex construction.

• Secondly, you're using contour curves of roughly the same degree throughout the full length of your sausage. As explained here, the degree of those contour lines should be getting wider/narrower as we slide along the form.

Moving onto your insect constructions, there is indeed a lot of good here, and you are developing a better grasp of how to manipulate simple forms in your drawing to create more complex objects, but there are some definite issues I want to address.

To start, is the extreme use of contour lines, which suggest that you're not necessarily thinking about what each contour line is meant to contribute to the drawing, but that you're instead drawing them because you feel you ought to. Never put any mark down on the page without knowing specifically what you're asking it to do for you. That's what the first phase of the ghosting method - the planning phase - is about. You determine what this mark is to accomplish, how it's best going to be able to do it, and how you can best achieve the specific mark you need.

The thing about contour lines is that there are a few different kind - and the sort you're using a great deal of, those that sit along the surface of a single form, suffer from diminishing returns. That is to say that the first one you add to a form may help define how it exists as a 3D form quite a bit. The second, however, may have much less of an impact. The third, the fourth, and so on, in turn may contribute basically nothing. For this reason, piling on contour lines just for the hell of it isn't the right move.

I mentioned that there are different kinds of contour lines - there's another that is actually vastly more effective. The lines we used in the form intersections exercise to define the relationship between two forms in space, are themselves contour lines, because they run along the surface of forms. What's unique about them however is that they run along the surface of two forms, simultaneously, creating a strong joint/connection between them. This makes them create the illusion that both forms are three dimensional much more strongly, when done correctly, because they establish a relationship with other entities, and with 3D space in general.

These are actually used as part of the sausage method, which is part of the next point I wanted to raise: you appear not to use the sausage method at all when constructing your insects' legs. It's not uncommon for students to be aware of the sausage method, 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, 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.

You can also see here how you can employ those tactics to really delve into all the nuance present in an insect's leg structure.

The last thing I want to touch upon is something I noticed with this ant. In its head, you placed a box form, and then seemed to ignore it, as though you realized that was a wrong move, and wanted to backtrack. The thing about construction as a drawing technique and as an exercise, is that every single form we introduce to the world must be respected as being present. We can't backtrack, or ignore elements we've already introduced to the world, because the marks are still there on the page, and so the viewer is still going to be aware of them. They are instead left with a contradiction - either that box exists in the world, or the larger ball form you tried to draw over top of it does, but there's nothing drawn there to suggest that both exist together.

These contradictions must be avoided - which means that once a form has been drawn in the world, you must respect its presence, and interact with it in three dimensions. This means you can't simply cut across its silhouette where it best suits you - if you wish to cut into that form, you have to define the cut lines along its 3D surface. These notes go into what I mean in a little more detail.

Now, I am overall pleased with the fact that you are by and large demonstrating a good grasp of how to work within 3D space, but I want to see you demonstrate your understanding of what I've laid out above. So, I'm going to ask for a few additional drawings before I mark this lesson as complete.