Starting with your organic forms with contour lines, you're doing an okay job of sticking to the characteristics of simple sausages, although I can see that you do end up with pinches through the midsection, and quite a few where the ends aren't quite the same size, or ends that aren't circular. Definitely pay more attention to this requirement when working through this exercise. Also, don't forget that the degree of your contour lines will generally be narrower closer to the viewer and wider further away. Make sure you're thinking about how each cross section's degree represents the orientation of that slice relative to the viewer.

Moving onto your insect constructions, there's definitely improvement over the set, and clear areas of strength, but there are also some issues that we need to address. The main issue here is in regards to the approach you're using when drawing in general. All of your drawings appear to be divided into an underdrawing where you figure out your general construction very faintly (with what honestly appears to be a dying pen, which you really shouldn't be using here), and a clean up pass where you go back over your lines with darker, richer lines.

This approach, as discussed back here in Lesson 2's form intersections exercise is not what I want you to be using in this course. It's not that it's wrong or bad, but that it is a process that focuses on the idea that our goal are the end results of the drawings. Instead, we're focusing on each drawing as an exercise, and by drawing in this manner, we're rendering that exercise less effective.

Instead, I want you to commit to every single mark you put on the page. First, think through each mark, plan, prepare, ghost, etc. then execute with a confident stroke. The reason we use fineliners is because they'll make a rich, dark stroke without much pressure, forcing us to accept the marks we've put down. Every single mark we draw represents a solid, three dimensional form that has now been added to the world, like a piece of marble. Once in place, it has to be dealt with, and cannot be swept under the rug.

The next issue I wanted to mention is that your line quality in general seems to be kind of off. I don't think this is your fault - meaning, I don't think it's a question of how you're drawing. Instead, I'm suspicious of either your pens, or more likely the kind of paper you're using. Fineliners should produce smooth, consistent strokes on the page, but there are kinds of paper where it'll come out sketchier and less consistent - rougher, more textured paper for instance, will do this. Now, by eye your paper looks smooth, so I'm kind of confused as to why your pens are behaving this way. It could just be that the pens themselves are dying, but I'm not sure.

Moving on, I want to reiterate what I mentioned before - every mark we draw defines a solid, three dimensional form. There will be situations where you'll draw a form, but it won't match your reference or your intent, and you will be tempted to alter it by either extending or cutting back into its silhouette. Don't do this. I've marked out here a couple places where you cut into the silhouette of this insect's forms. The silhouette of a form is the two dimensional shape that represents the form on the page. Changing that silhouette doesn't change the form itself - it merely breaks the relationship between them, causing it to no longer read as three dimensional. I demonstrate this in these notes on subtractive construction.

Now, there are definitely aspects of your drawings that show you are improving and learning as you move forwards. In fact I'm very happy with things like the ant and mantid fly on this page, where the forms you've drawn clearly exist in 3D space. There are however many things that undermine this clear grasp of 3D space. Areas where your linework is rushed and sloppy (not least of all your use of hatching, which is pretty haphazard) really have an impact. You need to slow down - not your execution of the lines, but your overall process. Spend more time thinking through your decisions and choices, and planning each and every mark. In drawabox, the ghosting method is king - we apply it to each and every mark we draw.

Lastly, I noticed that you while you're clearly aware of and attempting to apply the sausage method as introduced here, you aren't sticking to the characteristics of simple sausages, nor consistently reinforcing the joints between the sausage forms as shown in the diagram. It's not uncommon for students to be inconsistent in its use - using parts of it, but deciding that the legs they're looking at don't actually seem to look like a chain of sausages, and using 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, 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 - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

As I've called out quite a few significant issues, I'm going to assign some revisions below for you to work on rectifying them.