Honestly, I think your work here is honestly very, very well done. There are a few small issues I'll address, but it's more about introducing you to better ways in which particular problems could be approached. As a whole you're demonstrating a strong grasp of construction and spatial reasoning, and so this critique should be a short one.

Starting with your organic forms with contour lines, you're doing a good job of sticking to simple sausage forms. The contour lines wrap around the forms nicely as well, and you're doing well to make these forms feel solid in 3D space.

Continuing onto your insect constructions, you are doing a great job of building your constructions up through the use of individual solid forms, and as a result your constructions tend to feel quite solid and believable as real, 3D objects. There is one issue that I do want to point out however, which is somewhat key to how we want to be approaching construction throughout this course.

It's clear, between how you're drawing, as well as your hesitation when it comes to texture, that you are focused on ensuring that your end result looks good, and unfortunately that is something you will need to get past in order to get the most out of these lessons. The key point here is that none of these drawings are meant to be impressive things that we pin to our refrigerator for all to see when we're done. Each and every drawing is just an exercise, and when you hesitate - purposely making some of your earlier constructional marks more faint in order to hide them and keep them from ruining the cleanliness of your final drawing, you end up walking away with less experience and less of what the exercise itself has to offer you, in favour of a cleaner presentation.

It's not at all that the drawings are expected to be sketchy or messy - just that when you do decide that a mark is going to contribute to the process, you should be drawing it with full confidence. You'll notice that my demonstrations all use the same unforgiving photoshop brush that doesn't allow me to hide anything. Every mark is rich and dark and unavoidable. Once everything is in place, you can and should of course go in with line weight and cast shadows to help clarify what you're communicating, but this is not something we factor in while we're drawing those forms in the first place. So while I'm sure you did draw those initial lines more heavily than we're able to see in these scans here, the fact that the scanner diminished those lines and boosted the visibility of the others makes clear that there is a distinction that there should not be.

Remember above all that the end result does not matter. I'm experienced enough in reviewing homework submissions that I can read your results and identify most of how you've approached it. I'm not grading how clean or pretty it is, I'm grading what it tells me about how it came together.

Moving on, 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, 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 deviate from the technique just because it doesn't immediately look like what you're trying to construct. Additionally, note how the sausage method diagram is pretty specific on not including contour lines anywhere but at the joints between those forms.

The last thing I wanted to mention is that it seems that in some of the few areas you've gone beyond construction (which is not a problem - if all you want to explore right now is construction, in order to pin it down entirely, that's totally fine), you actually focused more on rendering and shading than actual texture. As discussed back in Lesson 2, rendering/shading is not something we get into in the scope of these lessons, and so I don't want students to get distracted by it here. Instead, everything you draw should be viewed in the context of communication.

When we establish the construction of an object, we're communicating to the viewer what it'd be like to hold and manipulate that object in their hands. When we add texture to a drawing, we do so with the goal of communicating to the viewer what it'd be like to run their fingers over its various surfaces. Don't think of it as decoration - decoration doesn't serve an actual purpose, so it's easy to lose track of how much you actually need to do. If however you look at it through the lens of an actual goal or purpose, then you will only need to add as much as is required to achieve that goal. To apply that back to texture, you don't need to overdo it - just add enough to imply the presence of some bumps, scratches, cracks, or whatever else there is, and the viewer's mind will fill in the rest.

So! Aside from those points, you are still doing a great job. I'll go ahead and mark this lesson as complete.