Starting with your organic forms with contour lines, you're doing a pretty good job of sticking to the characteristics of simple sausages, though keep an eye on how the ends are shaped. Sometimes you end up stretching them out a little more, rather than keeping them entirely circular.

One bigger concern I have however comes down to the way your contour lines themselves are drawn - specifically in relation to the ellipses at the ends. All the contour lines - both ellipses and curves - are effectively the same. They're lines that sit along the surface of the form. The only difference is that when the tip of a sausage form is facing the viewer, we can see the whole elliptical contour line, rather than a section of it.

I can see a number of places where you're drawing the ellipses in an inconsistent manner compared to what the other contour lines are communicating. For example, if you look at the bottom left of this page, the contour curves tell us that the end facing the viewer is the one without the ellipse - but the fact that you've placed the ellipse on the other end tells us that this end is facing us, causing a contradiction. Take a look at these. Here you've got an arrangement of sausage forms where both ends are facing the viewer, one end is facing the viewer, and no ends are facing the viewer. Note the relationships between the contour curves and the contour ellipses.

Lastly, while I can see you shifting the degree of your contour curves as you slide along the length of a given sausage form, it looks like you're doing so incorrectly. As explained in the Lesson 1 ellipses video, as we slide along the length of a cylindrical form, moving away from the viewer, the cross-sectional ellipses will gradually get wider and wider. You appear to be making them get narrower as they move away from the viewer in a number of these (though there are some where you're doing them correctly).

There's definitely a lot more things for you to keep in mind when doing this exercise.

Moving onto your insect constructions, you've certainly done a good job of studying the various demonstrations, and this certainly has reflected in some ways in your own insect drawings - although there are a number of things I want to share with you that should help you continue to move in the right direction.

The most important thing I can share with you right now is this - 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.

There are a few places I can point out this particular issue in your drawings - like as shown here - but this same issue arises from any situation where we attempt to change the silhouette of an existing form to change the nature of that form. So for example, here. It can also apply to cases where we just draw a new, flat shape right off an existing form, as you did for that same insect's mandibles.

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. 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.

Continuing on, I can see that you're pretty consistently striving to make use of the sausage method when constructing your legs - I'm very pleased to see this. I also noted that at least in some cases, you do attempt to build upon these structures to capture greater levels of complexity. That's fantastic - though it's something you can push even further. Insects' legs can often be found to be quite complex, if we look at the references carefully.

When building upon those structures, in order to adhere to the principles I shared previously (ensuring that everything we add is its own complete form), it helps to build upon those structures as shown here, here. You can also see this at play 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).

The last thing I wanted to call out is simply a warning - avoid drawing really small, as you did with the ladybug construction. Drawing small can artificially limit how much room you have to think through spatial problems, and can also make it much harder to engage your whole arm while drawing. Both of these factors can result in much clumsier linework. Make sure that you're always giving each drawing as much room as it requires on the page. Once you're done, you can assess whether another drawing will fit in the room that's left over - if it will, you should definitely add another in order to make good use of the space that is available and to get the most out of the exercise. If another won't fit, however, it's okay to leave it just to one.

Now, before I mark this lesson as complete, I definitely want you to address the points I raised in regards to your organic forms with contour lines, and I think a couple more drawings to demonstrate your understanding of the constructional principles I've shared would be worthwhile. You'll find the additional revisions assigned below.