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

• You're making good progress in trying to stick to the characteristics of simple sausages, though you often end up with ends that are more stretched out, rather than remaining entirely circular, so keep working on that.

• The degree of your contour lines is not behaving entirely correctly. If we look at this one, the farthest contour curve is wider (which is correct), then it gets narrower (also correct), but then it appears to get wider again for no reason. This can happen if the sausage form itself is bending/turning in space, but we don't see anything else to suggest that to be the case. As discussed in the Lesson 1 ellipses video, the basic principle is that if we're dealing with a straight cylindrical structure, then the degree will widen as we move away from the viewer. Since our sausages bend, there is some variation on top of that, but it's a good rule of thumb to follow. If it helps, here are different ways in which contour lines can be used on the same sausage, to demonstrate different orientations/configurations that are in line with the basic sausage shape we start with.

• You also have a tendency to place the ellipse on the tip facing the viewer farther back than it ought to be. Try to push it forward, actually placing it right on the tip of the sausage, rather than offsetting it so far back.

Continuing onto your insect constructions, I think your work here is largely quite well done. You're going to considerable lengths to focus primarily on building up your constructions through the addition of individual forms, each of which are solid and three dimensional, rather than just partial shapes or one-off lines. This helps make your constructions feel more believable when you're done.

I do however have a few things to suggest:

• As shown on this hercules beetle, you're currently making your forms more complex than they need to be by trying to both draw a new form, and solve its intersection, all at once. Instead, construct the form as a simpler structure, allowing it to interpenetrate what's already there, then solve the intersection separately.

• Also, be mindful of whether you're in a situation that calls for connecting pieces like this (having them interpenetrate), or having one form wrap around another, as this influences what our focus is on. There are certainly cases where you'll have to focus on how the silhouette of a new form is designed as you draw it, in order to capture how it wraps around the existing structure, but it depends on the nature of the problem you're trying to solve. With the horn, we're just mashing things together - but when we wrap segmentation or exoskeleton around existing masses, we keep things like this in mind.

• When it comes to detail, right now it seems like the way in which you're approaching it (or in deciding what marks to put down) is somewhat arbitrary, as though you're focusing more on the general idea of decoration, and making the drawings more visually pleasing. Decoration is not a particularly reliable target here, however, because it is subjective. There's no specific point at which we've added "enough" decoration. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice. Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

Before I finish this critique off, I wanted to offer some quick additional demonstrations for how we can build upon our basic leg constructions. You're doing a good job of starting off with the sausage method, especially in the sense 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).

Pay special attention to how I break additional masses into separate pieces, so their silhouettes can make as much contact with the existing structure as possible. I can see you making good use of that already, but I wanted to point it out in particular just in case you weren't sure why it's a good approach.

Anyway, I'll go ahead and mark this lesson as complete. Keep an eye on your organic forms with contour curves, but aside from that you're largely doing quite well.