Starting with your organic forms with contour curves, while these demonstrate a good deal of confidence and care in the execution of your linework, there are a number of points I feel you're forgetting to invest time into here. I don't think it's an issue in regards to skill - just that you've forgotten certain important elements of the exercise:

• First and foremost, it's important that you strive to stick to the characteristics of simple sausages - that is, doing your best to keep the ends of the sausage equal in size and circular in shape (avoiding one being bigger than the other, or the ends getting more stretched out), and to maintain a consistent width through the length of the given sausage, rather than pinching or swelling through the middle.

• Across most of these, you appear to be drawing the contour lines for a given sausage as all sharing roughly the same degree. Remember that as discussed back in Lesson 1's ellipses video, the cross-sectional slices of a cylindrical structure will naturally be perceived as getting wider as we slide along the form away from the viewer. In other words, as we get farther away from the viewer, along the length of a given sausage, the contour curve should be getting wider in its degree, rather than remaining the same width.

• I think you could definitely be investing more time into the alignment of your contour curves to the central minor axis line. There's a lot of misalignment here - usually fairly subtle and minimal, but it's definitely an area you need to be addressing more actively.

Continuing onto your insect constructions, I can see that you are off to a good start, in thinking about how you can break down the insects you're looking at into simpler components, and how you can try to build up from simple to complex to reproduce them on the page. That said, one thing that particularly stands out about how you're approaching these constructions is that you have a tendency to jump back and forth between interacting with your work as though it's a three dimensional thing that you're producing in the world, and interacting with it as though it is just a flat, two dimensional drawing on the page.

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

You rely on this kind of approach a lot, primarily because you're not treating the initial marks you put down (those initial head/thorax/abdomen masses) as being real, tangible, solid forms that are existing in the world. You view them more as being an exploration of the space, a sketch before you pin down the "real" form.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. You can also see this in action in the shrimp and lobster demonstrations on the top of the informal demos page - pay special attention to how every single element I add to the structure is regarded and treated at every turn as being solid and three dimensional. I don't allow myself to take any jumps or shortcuts, to adjust things in 2D, because I know that working in 2D will only reinforce the idea that what we're drawing is entirely flat.

This is all part of accepting that everything we draw is 3D, and therefore needs to be treated as such in order for the viewer to believe in that lie.

The last thing I wanted to mention for now is that I can see that you're making a conscious attempt at applying the sausage method when constructing your insects' legs. You do deviate from [those specific principles]() a little here and there - not always sticking as closely to the characteristics of simple sausages as you could, not always reinforcing the joints between the sausage segments with a contour line, etc. but I feel these are things you're working at, and that you'll continue to improve upon. One thing that will definitely help is to simply draw bigger on the page, making full use of the space that is available to you. Right now you're only taking up a relatively small portion of the page, so instead be sure to focus first and foremost on giving each drawing as much room as it requires. This will in turn help give your brain more room to think through spatial problems, while also making it easier to engage your whole arm while drawing.

Moving back to the use of the sausage method, I did want to call out that this technique 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). These approaches continue to hold firm with the principles of additive construction I addressed above, where we regard every form as being solid and 3D, and where we think about how to design their silhouettes so they wrap around and relate to the existing structure in clearly defined ways.

It's pretty common for students to just draw the basic underlying structure, as you've done here - but in order to find the more nuanced visual elements that are present, we do need to look more closely, and spend more time studying our references, always coming back to see what else is present.

I've shared a couple major points for you to work on here, so I'm going to assign some revisions below for you to demonstrate your understanding.