In general, my teaching assistants and I do try to ignore students' commentary, and even explanations as to the choices one makes are more counter-productive than helpful. Everything we need to know can really be gleaned from the work itself. Providing reference images is certainly fine though - but make sure that if you do so, it's done in a way that doesn't require us to download any files. Can't be too careful, after all.

Starting with your organic forms with contour lines, these do have some issues that you'll want to consider when doing this exercise as part of your regular warmups:

• The contour curves themselves tend to be drawn a little stiffly - you're definitely prioritizing accuracy over confidence/fluidity (although there are some cases where the contour lines fall outside of the sausage's silhouette all the same). Remember that these marks should be drawn using the ghosting method to improve your overall control, while allowing for a confident execution - and that they should be drawn from your shoulder. The unevenness of the contour lines' shape does suggest to me that they're being drawn more from the wrist than they ought to be.

• Right now, you're generally sticking to a fairly consistent degree for your contour lines as you slide along the length of a given form, at least in many cases. There are some cases where you end up reversing the contour curves halfway through, but you seem to jump to the same degree, just reversed. In the cases where you do shift the degree of those contour lines, you do so in the wrong direction. As explained in the Lesson 1 ellipses video, the cross-section gets wider as we slide away from the viewer, not narrower.

• Keep in mind that the ellipses (which you should be drawing through two full times before lifting your pen, as mentioned in Lesson 1), are no different from the contour curves, in that they're contour lines too. It's just that when they're at a tip which is facing the viewer, we can see all the way around (instead of a partial curve). This also means that they should be similar in degree to the contour curve preceding it. Often you tend to draw the ellipse as being more circular, even when the preceding contour curve is very narrow as shown here.

• I did catch one instance, here, where the contour curves suggested that the tips were pointing away from the viewer, but you still added ellipses on both ends (which suggests that they're pointing towards the viewer). Here's an example of three different configurations - one where both ends are facing the viewer, one where both ends are facing away, and one where one end is facing towards the viewer and the other is facing away. Look closely at the relationships between the contour curves and the tips that do feature a contour ellipse.

Continuing onto your insect constructions, here I do find that over the course of the set, you're showing a good deal of growth and improvement. There are still some issues that I'll point out, but as a whole I feel your work is moving in the right direction. The most notable element is that throughout many of these, and moreso as you continue through the set, you're paying a lot of attention to the idea that each structure is built up on top of simple, solid elements, and that they all exist in 3D space.

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, students should not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

I saw some of this towards the beginning of your work, specifically with the ladybug construction (attempts 1 and 2 especially, though in 3 you also did end up modifying the silhouette of the abdomen by extending it outward. This was a lot less present in later attempts, although I could see some areas where you cut into silhouettes as shown here.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

You can see this in practice in this beetle horn demo, as well as in this ant head demo, but I do feel this is something you gradually moved towards (be it consciously or subconsciously) throughout your work in this lesson. It's certainly still not perfect, but the solidity of your constructions improved a great deal, especially with cases like the zebra jumping spider and the dragonfly. With the dragonfly though, I would probably approach the abdomen in the manner I demonstrated here on another student's work - basically focusing more on the idea of creating a long tube, and wrapping complete, solid structures around it.

Lastly, 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 - like in the jumping spider.

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. You worked more in this manner in the Eupholus drawing, though there are more effective approaches to build on top of the sausage structure, once it's in place as shown here, here, in 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! All in all, your organic forms with contour curves need a looooot of work, but the rest of your constructions are coming along nicely. I'll leave it to you to address the issues as you move forwards, so you may consider this lesson complete.