Starting with your organic forms with contour curves, very nicely done! On your second page you've got a few instances where the ends get just a little bit more stretched out than they ought to, but your first page is really nailing the whole "two equally sized spheres connected by a tube of consistent width" thing.

Moving onto your insect constructions, you've largely knocked this out of the park. You're doing an excellent job od building up your constructions with a series of simple forms, and you're fully respecting the solid, three dimensional nature of those forms (rather than taking shortcuts that break the illusion you're creating). You're also making excellent use of the sausage method in the construction of the legs, and are doing a great job of defining the clear spatial relationships between those forms.

One small note - the drawing at the bottom of this page does have somewhat wonkier legs, but what I'm particularly focusing on is the way in which you added mass to them. This is exactly what is demonstrated on the wasp demo, so you haven't technically made any mistakes - but in future demonstrations I'll be pushing the process demonstrated here as a better approach, due to how it results in clearer relationships between the added forms and the underlying structure. On the same topic of the legs, you are keeping the construction here pretty simple - when I say focus only on construction for a particular set of drawings, you should still be taking that construction as far as you can. For example, the leg I drew on this other student's work demonstrates how much greater complexity you can get into while still just dealing with construction.

Also, about the way in which you've been approaching the heads of the insects on this page, I do feel like they're a bit cartoony and oversimplified - you may benefit from looking more closely at those parts of your references. The approach itself, from a constructional standpoint, is fine, as you're combining simple forms together, but I think you're working more off memory in that point rather than directly conveying all of the information that is present in your reference.

Now, there are definitely some mistakes being made when you move into detail/texture. By the end of the lesson you're still doing reasonably well, but the most important thing to keep in mind when adding detail and texture to a drawing is that none of it matters all that much. You can easily find yourself inclined to add EVERY piece of detail you possibly can. It's easy to focus more on the idea of making a pretty drawing with nice rendering that will impress others. That is not what we're doing here, however.

Instead, we're continuing to pursue a simple goal - visual communication. All we need to be doing is working towards conveying a little more information about this object to the viewer. Through construction we capture how the object exists in space, how it's put together, and how it could ostensibly be manipulated in one's hands. With texture and detail, we're looking to capture what it might feel like to run your fingers over the various surfaces.

We don't need to do this for everything - there are some kinds of details that we simply don't have room to capture at an accurate scale - for example, the veins along the wings of the insects like the one on the right side of this page are not nearly that big. Instead they're actually small enough that I might just barely imply their presence with the odd little shadow on one side of those forms, or I might neglect to add them altogether. No one is forcing you to capture everything, and while it may be tempting to make things a little bigger in order to capture them fully, we cannot change the nature of what we're capturing in order to make doing so easier.

When it comes to the weevil on this page and the scorpion on this page you end up mixing up the use of cast shadows (which are permitted and encouraged) and the use of form shading (which is generally discouraged as per the notes in lesson 2). This is pretty common with students, but it's critical that you identify the difference. Cast shadows are always the result of one form blocking the light and projecting a shadow shape onto another surface. Form shading has no second form - it is the surface of the form itself getting darker or lighter as we turn it towards or away from the light source. I believe this is something you try to hold to, but get caught up on here and there when your attention focuses more on just making a drawing that looks nice.

Anyway, all in all your work throughout this lesson is really quite well done - you just get a little overzealous when it comes to jumping into detail, giving it a lot more focus and attention for the relatively low importance this course places upon it. I'll go ahead and mark this lesson as complete, so keep that in mind as you move forwards.