Your drawings are moving in the right direction, but there are definitely signs that you are not completely understanding the critique I provided previously, at least not in its entirety. Here I've marked out three major issues.

Most significantly, you blocked in your abdomen with a simple form, then cut back into its silhouette in precisely the manner you were told not to, in order to change it. If you find that your construction doesn't match your reference image, it's too late to make those big changes. Accept the direction your construction has taken, and keep going. The result of you trying to change it instead was to add massive contradictions to what your viewer sees, undermining their suspension of disbelief.

There are also a number of places where you didn't draw each form in its entirety. Remember that construction is about adding new, complete, three dimensional forms to your structure. Any situation where you just add a flat shape (for example, when you allow the forms you draw to get cut off on one side when they're overlapped by something else) will remind the viewer that they're looking at a drawing rather than a real object.

I didn't call this one out in your original submission, but it's also important that you adhere closely to the sausage method. You're definitely applying it in a number of places, and I get the impression that you are trying to use it across the board, but that you're just a little too relaxed in how you approach it. That diagram shows three key points that need to be adhered to:

• Your segments should each adhere to the characteristics of simple sausages (two equally sized spheres connected by a tube of consistent width. Keep the ends circular, avoid stretching them out, and don't have the midsection get wider or narrower.

• The segments should overlap/intersect visibly.

• The joints between those segments should be defined with a contour line.

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, 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.

I do think you're moving in the right direction, but that massive example of cutting back into your silhouettes is a real problem. I'm going to assign another 3 insect constructions as revisions. To get another couple of examples of how you should be approaching your constructions, take a look at the shrimp and lobster demonstrations at the top of the informal demos page.