Starting with your organic forms iwth contour curves, these are generally coming along pretty well, though I noticed a couple things:

• On the first page, you seem to have skipped the step of drawing your central minor axis line - though you fortunately corrected this on the second page. Just be sure to follow all the steps as they're written.

• Make sure that for all your ellipses (in this case, the ones at the tips of the forms facing the viewer), you drew through them two full times before lifting your pen. This goes for every ellipse freehanded throughout this course.

Aside from that, you're doing a good job of adhering to the characteristics of simple sausages (with a few small deviations, mainly cases where an end gets a little too stretched out, but this is pretty normal and still shows that you're aiming in the right direction), and your contour curves are showing tight control and a good sense for how the degrees shift along the length of the form. You might want to have those farther contour curves get a little wider to exaggerate that degree shift, but all in all, nice work.

Continuing onto your insect constructions, for the most part your work here is really well done. There are a few suggestions I've got, but as a whole you're showing a good sense for how these structures exist in three dimensions, and you're producing solid, tangible results.

The main thing I want to call attention to is simply a matter of how we combine forms to build things up - and more importantly, the importance of avoiding altering the silhouettes of forms we've already drawn, after the fact. It comes down to certain actions occurring in the 3 dimensions in which the object we're constructing exists, and other actions occurring in the 2 dimensions of the page upon which the drawing exists. Always remember that the drawing is a representation of something real, but it will only faithfully maintain that connection (between the 2D and 3D) so long as we always operate in 3 dimensions, and avoid taking shortcuts in 2D.

Since it's easier to show than to explain, here's a demonstration of what I mean. As we build up our constructions, we can continue to work strictly in 3D space if everything we add is its own complete, enclosed form, either with its intersection with the existing structure, or by designing its silhouette to wrap around the existing structure. Either way, what you don't want to do is either rely on individual marks that attach themselves to existing forms (without already being fully enclosed themselves), or slapping on shapes that do not in some way establish a relationship with what's already there.

I have a handful of demonstrations to this effect that could be useful:

• How to think about designing a silhouette to "wrap" around a structure

• Additive construction of an ant head, progressing one step at a time

• Shrimp demo from the informal demos page

• Lobster demo from the informal demos page

• Building on top of a simple sausage structure

• Other cases of wrapping around existing structures

• Adding additional masses to an ant's leg

• Building on top of a sausage structure for a dog's leg (these principles continue to apply throughout the next lesson)

Now you're really not far off from doing this - as I mentioned before it's clear that you're thinking about how your pieces fit together in 3D space, but it's those little jumps you make, effectively taking shortcuts through the 2D world that potentially undermine the overall solidity of your result.

There's one last thing I wanted to call out. There are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. Right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it. This will help you avoid situations like this page where you've got two drawings taking up maybe 30% of the space on the page. That's a lot of lost opportunity, where the additional room could have helped a great deal to break loose and really explore the core forms.

Anyway! All in all, I think you're progressing very well. Be sure to apply the points I've raised here as you move forward. I'll go ahead and mark this lesson as complete.