Starting with your organic forms with contour lines, there are two major issues that stand out:

• Your sausages are not simple sausages as described in the instructions. I'm assuming that you jumped into the exercises based on memory instead of actually reading through those instructions again. It's really important that you read through them in order to ensure that you don't miss important points such as this.

• Your contour ellipses and contour curves all maintain the same degree, instead of shifting naturally along the length of the form as shown here.

Moving onto your insect constructions, you're making some moves in the right direction, but there are a number of aspects to how you approach these drawings that aren't quite working out. First and foremost, it's important to remember that constructional drawing is all about establishing solid, 3D forms in the world. You're not just drawing loose shapes, not laying out a rough sketch and building up a drawing, and when you take actions that treat your drawing as though it is just a collection of lines on a page, you are reminding the viewer of this, and undermining their suspension of disbelief.

This means that whenever you put a form down on the page, you need to treat it as though it is solid. That means fully enclosing its silhouette, executing your lines to be smooth and confident, and not drawing new forms directly on top of them as though they are not there.

This is something I see a lot in your crab - you roughed in the legs with lighter marks, and then drew back on top of them using those original marks as a sort of guide or sketch, something to help you place your next phase but nothing more than that. This doesn't work because it results in your drawing having tons of contradictions. The viewer seems you having established forms in some places, with other forms treating them as though they're not there, and in seeing this they become unsure of what is solid, and what is not.

If you look at my demonstrations - the louse demo for instance - you'll see that I'm drawing with solid, dark lines. I'm not drawing anything faintly or trying to hide any strokes. Whenever I add another form, I clearly establish its relationship with the ones that already exist in the world. I build forms on top of others, defining how they connect to one another. When I build up the segmentation of the louse's abdomen, I wrap them around the underlying structure, using it like a scaffolding to support these new forms. Without the scaffolding to support it, there would be no way to ground the new information in space. This kind of build-up is considered 'additive construction'.

Subtractive construction - where we cut away from forms we've established - is an option, but many students tend to use it incorrectly. For example, when drawing your ladybug, we can see that the thorax form was initially drawn much larger, and then you pulled back and drew a smaller form on top of it. In this sense, you drew something larger, and then cut back into it - but you cut back into it as a flat, two dimensional shape. Not as a 3D form. Cutting back into something in three dimensions means separating that one form into two forms by drawing a contour line along its surface, defining where that separation occurs in 3D space. You can see the difference demonstrated here.

Generally speaking, try to use additive construction wherever possible. Often that means starting smaller and building your way up, rather than starting larger and cutting back in. Subtractive construction only works well in certain kinds of constructional problems, so it's best only to use it when you absolutely have to. Instead, thinking about building everything up, one form on top of another, will help you develop your understanding of 3D space much better.

I did like your huntsman spider a fair bit, as far as the result goes - the relationship between the cephalothorax and abdomen felt loosely 3D, as did the positioning of the legs (especially how they all felt like they touched the same ground plane, which helped push the illusion that it was 3D). This drawing was still quite loose, and it still gives the impression that you're not really applying the techniques we've learned in previous lessons - for example, ghosting through each and every mark you draw. It feels much rougher than that, like you were trying to draw these objects by instinct.

Often we'll see artists churn out beautiful drawings without thinking, and we naturally want to follow their lead. They do indeed rely on highly developed instincts - but those instincts and reflexes are not developed by drawing quickly and loosely and hoping things fall in the right place. Those instincts are developed by drawing more carefully, more purposefully, and investing the long hours to strive to first determine where your lines should go, then working to execute them properly. If you try to develop your instincts by using your instincts, you won't get anywhere with them.

There's one last thing I want to mention - you use the [sausage method]() to varying degrees, but not nearly as consistently as I'd like to see. This technique should be used when constructing all of your insects' legs. You will find plenty of cases where it feels like your insects' legs don't match a chain of sausages, but that doesn't really matter. What we're doing here is constructing a base structure or armature that captures both a sense of solidity and a sense of fluid motion to the limbs. Most techniques for drawing legs will excel at one or the other, but rarely will balance the two.

Once the armature is in place, we can then add bulk as necessary by wrapping additional forms along that structure as shown here.

Oh- I lied, this is the last thing I want to mention. It's a minor point, but I saw in a couple of your drawings where you tried to get into texture, you got caught up in applying a lot of form shading instead. As explained here, you should not be applying form shading to your drawings in these lessons.

As I've laid out a number of things for you to work on, I'm going to assign some additional pages. This will give you the opportunity to demonstrate that you understand the concepts. And of course, I strongly recommend that you reread the instructions, demonstrations, etc. for this lesson as well as the organic forms with contour lines exercises before doing the revision work.