While you may well have found this lesson to be difficult, you faced the challenge head on, and really nailed it.

Jumping right in with the organic forms with contour lines, these are quite well done. The ends do get a little stretched out, so keep trying to keep those ends circular in shape, but as a whole you're very close to maintaining those characteristics of simple sausages consistently, and the contour lines themselves are drawn confidently, maintaining a nice even curvature to them. One thing to keep an eye on though is the alignment - there are definitely places where this seems to fall on the backburner as far as priorities go, such as here.

Continuing onto your insect constructions, as a whole one of the reasons you've done such a great job is that you've really respected the fact that what we're building here are solid, three dimensional objects - and therefore, at every step, you've treated each individual component and form as something solid and 3D, rather than just marks on a page. You've done to considerable lengths to focus primarily on engaging with the construction in three dimensions, and haven't taken very many shortcuts that saw you switching back to 2D.

There are a few little issues that I want to call out, in order to keep you on the right track, but as a whole this is very good work.

• One thing I noticed is that you do tend to be a bit lighter and a bit looser with the earlier marks. So for example, if we look at this ant, the initial head mass is definitely fainter, and those ellipses tend to be quite loose. While the actions you take afterwards never really undermine their solidity, the looseness of the ellipses does call it slightly into question - and more importantly, the tendency to draw those earlier marks more faintly does create a division between different parts of your construction. It's generally best to draw all of the marks with the same line thickness (or as close to it as you can manage), so as to avoid the impression that some of those forms aren't meant to be there in the end.

• There are some places - though very few - where you didn't quite hold to the elements of the sausage method. A noticeable example is on your centipede, where the left side of the drawing is definitely a lot more rushed (the legs specifically - you're not defining the joint between them, and they tend not to stick to the characteristics of simple sausages). I understand that you'll have drawn a ton of these little legs in this construction, but ultimately if a drawing is more complex, it's simply going to mean that it'll require more time. If this means you need to split the drawing across multiple sessions or days, that's totally fine and appropriate, as long as it means you're giving each individual mark and form as much time as it requires, regardless of context.

• Stepping back to the ant drawing for a second, while handled the head on this one quite well, I did want to offer a demo I had on hand. It's a different breed of ant, but it demonstrates how we can actually start with a smaller, more spherical head mass, and then build on top of it to get a more specific shape.

• While I called out one area where you were falling a little short on the sausage method, for the most part you are doing a good job in its use. That said, it can be taken further. 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, 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).

• I can see that there was some confusion in how to handle this stag beetle's horns. You tried a couple techniques - with the left one, you drew something of a boxy tube, and then attached other solid pieces to it. There's an element to that which is correct (you worked consistently in 3D space), but the approach is definitely a lot more complicated than it necessarily needs to be. On the right side, you started with a simpler form (again, a boxy tube), then extended its silhouette. This approach is incorrect (or rather, less good for the purposes of these kinds of exercises) because they're one of the few cases where you did go back to working in 2D space. The silhouette of the horn is itself a 2D shape that represents the three dimensional structure, but by altering it, we break the connection and are left with just a flat shape. Instead, start with a simple form, then add yet more simple forms, allowing them to interpenetrate the first, and defining the intersection between them with a contour line as shown here (I included an example using a simpler sausage-like structure, and a boxier one as you employed).

As a whole, you've done a fantastic job. So, keep the points I've mentioned here in mind, but you may consider this lesson complete.