To start, your organic forms with contour lines are all things considered fairly well done. They're not perfect - you definitely have some that stray a little from the characteristics of simple sausage forms (ends of somewhat different sizes, ends that are a little more stretched instead of properly circular/spherical, etc.), and there are some small accuracy issues in getting the contour lines to fit snugly within the silhouette of the form, but all in all you are not far off. That said, you mentioned you hadn't been doing these as part of your warmups - that's definitely a mistake on your part, and I want to reiterate the fact that you definitely should have all the exercises in the lessons you've completed thus far as a part of the "pool" from which you pick a day's warmups. Doesn't mean doing each exercise in its entirety, but however much you can do within the scope of 10-15 minutes across two or three of them.

Continuing onto your insect constructions, overall you're making pretty decent progress. There are a few concrete suggestions however that I have which will apply to how you approach construction and drawing within this course as a whole in order to get the most out of it.

To start, the filled areas of solid black you use in your drawings should be reserved only for capturing the shadows cast by the forms in your object - be they the larger constructed forms, or the smaller textural forms (where shadow shapes are the only ways in which we capture them). All form shading (as explained back here in lesson 2 as well as the patterns we may see on the surfaces of our insects/animals/objects) should largely be ignored.

You can think of what we're doing here as being entirely focused on communicating one thing - we want to convey to the viewer the forms that make up these objects, and how they're made up. Through construction we convey the information the viewer would need to understand how they might manipulate this object in their hands, and through texture we convey the information they'd need to understand what it'd feel like to run their fingers over its various surfaces. These are all things we experience more through touch and handling the object, rather than through sight - so that's what we want to focus on here.

Whenever you put a mark down, I want you to think about whether you're conveying that kind of information, and whether you're doing so in a specific manner. Don't just get caught up in making a pretty picture, and treating the opportunity to add detail/texture as being about decorating your drawing, like you did with this grasshopper. Our focus is not on drawing something that looks nice, it's on conveying information.

The next point I'd like to touch upon is the importance of always working from simple to complex. For the most part you've done a great job of this, which is good since it's the primary focus of this course as a whole. That said, there are a few places where you strayed from this in a few ways. If we look at the stag beetle, its horns' initial construction include a lot of the little smaller horns/protrusions, rather than just focusing on the most basic structure and then adding the horns after the fact. This is very clearly a lot of complexity being tackled all at once, whereas construction's primary strength is the fact that it allows us to solve one problem at a time, and build up. Every successive phase of construction involves taking the solid forms we drew previously, and then adding new forms to them, clearly defining the relationship between the new forms and the old ones.

For the most part you handled construction very well on this ant, but in its head, I could see where you constructed the cranial ball with a very faint ellipse initially, and then redraw parts of it whilst including a more complex form. The initial ball should have been drawn confidently, with a solid, dark line, and then the protrusions should have been introduced as separate forms, with the intersection between them being clearly defined on the page.

When employing construction, try not to fall into the trap of redrawing things you've already drawn. If the form doesn't need to change in any way, there's no reason you can't just leave it alone. The marks we add in a successive phase of construction are not to replace an existing form or mark, they serve to build on top of it by introducing new solid, 3D forms.

Looking at your dragonfly, specifically its abdomen, the way in which you approached it is fairly logical in that it does abide by the principles of construction (for the most part - the individual forms themselves weren't perfectly simple but they were somewhat close). That said, I'd argue that having started with a single long sausage going all the way down from end to end of their abdomen and then building up segmentation on top of it would have been better. Take a look at this quick demo I did for another student who used the same approach.

I noticed that you seem to have employed a few 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. In your case, you actually used the sausage method quite a bit, but there were some cases where you strayed from it.

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, 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). Just make sure you start out with the sausages, precisely as the steps are laid out in that diagram - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

So! With that laid out, I'll go ahead and mark this lesson as complete. Just be sure to keep the points I've raised here in mind as you continue on.