Starting with your organic forms with contour lines, these are looking decent, but there are a couple of small issues I want to call out:

• While your sausage forms are getting pretty close [to the characteristics of simple sausage forms outlined here](), you do tend to have one end that comes out a little more squared off, not quite maintaining that circular shape.

• I'm also noticing that there are places along the silhouette of the sausage forms - or at least some of them - where you have visible breaks and gaps. This is likely one potential cause for the issue above, and it also undermines the solidity of the overall form by breaking its silhouette. Maintaining fully enclosed forms and consistent trajectories is very important. I understand that students sometimes have trouble drawing their sausage forms in one go - one thing that can help with this is to slow down your execution of the stroke a little. It's important that we execute all of our marks confidently, but that doesn't mean they all have to be drawn as quickly as we can manage. As we get more practice with the ghosting method, it does get easier to maintain that confidence while drawing at a somewhat slower pace, which can make those kinds of turns a little easier.

• You appear ot be drawing most of your contour lines with roughly the same middling degree - not very thin, not very wide - throughout all of your sausages. Keep in mind that the degree of your contour lines reflects the orientation of that cross-sectional slice with the position of the viewer. Closer to the viewer, they're going to be thinner, farther away they're going to be wider.

Now, moving onto your insect constructions, overall I'm actually very pleased with the understanding of 3D relationships you've demonstrated throughout these drawings. There are however three main issues I want to address that relate more to the specific procedures we're following within this course, rather than the quality of oyur end results (which are generally quite strong).

First off, it's very clear that you're approaching your constructions in two phases. First, you rough in your underdrawing with a light stroke, then you go back over it with a clean-up pass in order to produce as clean a final result as you can, with those construction lines being as understated as possible. This, for the purposes of this course, is incorrect.

What we're doing here isn't focused on creating clean end results - each and every drawing is an exercise in spatial reasoning. We make a point of drawing every mark with confidence, not taking any steps to hide them or draw them more faintly. Furthermore, outside of the addition of line weight (which specifically is used to clarify how certain forms overlap one another, focused at key, localized areas), we do not redraw marks that have already been established by earlier phases of construction, because we don't want to get caught up in attempting to "trace". Tracing tends to focus too much on following the lines as they exist on the page, rather than how they represent edges in 3D space.

Long story short: don't draw your construction lines lightly, and don't go back over them in their entirety with a darker stroke. You can see precisely how I approach construction in all of my demos - the marks are bold and confident the whole way through, and you should attempt to match that process.

To that same point, also be sure to draw through your forms. For example, you often cut your insects' legs off where they are covered by some of the exoskeleton of the torso. If a form is drawn in part, it should be drawn completely, producing a fully enclosed silhouette. This will help us to better understand how those forms exist in 3D space, and how they relate to one another within it. Again - what we're doing here are spatial reasoning exercises, in the form of drawing real objects.

The next point I wanted to call out isn't actually an issue I see too much of in your work, but it's important enough to call it out regardless, In this mosquito drawing, I've highlighted where you drew a larger overall form, then cut back into its silhouette, basically separating it into positive space (where form remains) and negative space (where it becomes an empty void).

Now, 'subtractive' construction is a valid approach one can use, but this involves cutting into 3D forms - not their two dimensional silhouettes. I explain here the difference. As mentioned at the end there, subtractive construction is really better suited to geometric/hard-surface drawings, and isn't too suitable for organic subjects like insects and animals. So, it's better to work additively at all times - that is, establishing solid, three dimensional forms and building on top of them at every step, introducing new simple forms and defining how they attach or relate to what's already there.

The last point I wanted to call out is that I noticed that you seem to have employed a lot of different strategies for capturing the legs of your insects. It's not uncommon for students to be aware of the sausage method as introduced here, 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, 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.

Now, while your end results are looking great, I do want to make sure that you're able to draw without that underdrawing/clean-up pass split, so I'm going to assign a couple more pages where you can demonstrate that before I mark this lesson as complete.