Starting with your organic forms with contour lines, you're doing pretty decently but there are a couple things that stand out to me:

• You're close, but there's still a little deviation from the characteristics of simple sausages. Ensuring that both ends are equal in size and that they're also circular rather than being a little stretched is important. As I mentioned, you are close to having this right, it's just a few that deviate in relatively small ways.

• Careful with the contour lines themselves - keep working to get them to fit snugly between the edges of your forms and to wrap around the rounded surface confidently.

• Remember that the degree of your contour line represents the orientation of that cross-section relative to the viewer, and that the degree does not remain the same throughout the entire length of the form. As we slide along it, it'll get narrower/wider (narrower closer to the viewer, wider farther away, barring other actual rotation of the form itself).

Moving onto your insect constructions, while there's a lot of good here and you're showing a general grasp of construction, one key issue I'm seeing has to do with precisely how you're executing your linework. Similarly to the contour lines in the previous exercise (where some of them are a little loose, a little too okay with slipping outside of the sausage's silhouette, etc.) that kind of looseness is present in a few places throughout your drawings, and it serves to undermine the solidity of some of your forms.

To put it simply, it comes down to sometimes you're a bit sloppy, and sometimes you're not. The fly demo drawing in the bottom right of this page, as well as a number of your earlier constructions have aspects to them that feel really solid, all the way down to the stag beetle. Specifically once you start getting into more detail however, it becomes very clear that the amount of time and patience you invest into the actual construction phase takes a hit. This is pretty common - students will often get distracted by the fact that they know they're going to be delving into detail/texture, and as a result they put less time into their construction.

Above all else, it is critically important that you ensure that every form you introduce into a drawing feels solid and three dimensional. Each and every one. For example, looking at the wasp at the top of this page, specifically its abdomen, there are definitely marks there that are a little more quick. Your intent there is all on point, but taking a little more care in executing those marks will help the forms they define feel more solid. Similarly looking at the area connecting the thorax to the abdomen, it seems entirely undefined and unclear, rather than solid. Things like this can really undermine our constructions.

Another point I wanted to raise was that in a lot of your leg constructions (not all) you tend to stick to just the basic sausage construction. This is a good first step, as it lays down a core armature/base structure, but there's a lot of room to introduce smaller more nuanced forms to help build out some of the more complex structure in our insects' legs. This diagram explains a good strategy for building up those kinds of forms, and you can see it in action with this ant leg. It'll also apply in the next lesson as we delve into animals, as you can see in this dog leg.

When it comes to the detail you tried to apply in the last few pages, one critical point I need to raise is precisely what construction, and what texture/detail, are for. When we define the construction of an object, we're basically giving the viewer all the information they need to understand how they might manipulate this object in their hands. When we define its texture/details, we're providing them with the information to understand what it might feel like to run their fingers over that object's various surfaces.

I can see in a few places - for example this beetle - where you've opted more to jump straight into actually shading your reference image. While the actual approach to shading is good (you focused on the transition areas where you could actually imply texture), it still looks to me like you were more focused on adding shading/rendering rather than focusing on the texture itself. Of course I can't necessarily assume that was your intent, so I'll just provide a reminder that as mentioned back in lesson 2, we're not getting into actual shading here. The focus is only on communicating visually what the viewer needs to know, not to create a pretty picture.

I've given you a number of things to think about. In order to apply them, I'm going to ask for an additional 3 pages of insect drawings. Aim for the kind of construction you demonstrated on the bottom insect here. There you focused on nailing each and every aspect of the construction as being solid, and defined the relationships between those forms quite well. The use of contour lines were a little excessive (many of them aren't actually contributing anything) but overall the construction is well done. I'd like to see more of that before I mark this lesson as complete.