Starting with your organic forms with contour lines, these are looking pretty good. You've stuck to the characteristics of simple sausages, your contour lines are confidently drawn, and fit snugly within the silhouette of the forms, and you're mindful of how the degree of those contour lines change along the length of the form.

Moving onto your insect constructions, honestly for the most part your work is as far as construction goes, mostly very well done. There are a few issues that would definitely contribute to the drawings feeling a little flatter than they otherwise could, but as a whole you are demonstrating a good grasp of how the forms combine together in 3D space to create solid, believable results.

The mistakes fall into a few categories:

• Getting too complex too soon - maintaining the illusion that the constructions are 3D relies heavily on starting with forms that themselves read as being 3D without too much additional work. So working with strictly simple forms (balls, simple sausages, etc.) is key. We combine them and build upon them to achieve greater complexity in the whole, while maintaining the illusion of solidity. The page with the tree hopper and the hercules beetle both feature forms that are are dropped pretty much fully formed into the construction, rather than being built up piece by piece. For comparison's sake, here's a beetle horn demo showing how we can work through this step by step. Looking at how you approach certain parts of other constructions, it's clear to me that you are aware of this kind of approach, but that for whatever reason you opted not to use it here. These are the core principles of construction, and should be used consistently all across the board. Just for the sake of completeness, here's an ant head demo showing the same principles.

• To the point above, 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. 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.

• Not defining the relationship between forms. When we add more forms onto a structure, it's critical that we define how these forms relate to one another in 3D space. This on its own can take something that might otherwise read as a shape (like a simple sausage) and immediately make it feel like a solid, 3D form. This of course works in conjunction with the forms themselves being simple to begin with.

• Not drawing through forms. Sometimes you'll have a form's silhouette stop where it gets overlapped by another form. Drawing each form in its entirety is critical to ensure we understand how it sits in space, and how it can possibly relate to those around it. After all, a form doesn't stop existing where we can no longer see it.

• Observation. This actually doesn't so much impact the illusion that the constructions are 3D, at least not directly - but some of your constructions do feel more simplified, in ways that suggest that you're not observing your references closely and frequently enough, and instead end up working from memory. Remember that in order to ensure that you're drawing an accurate, realistic construction of the given insect, you need to be deriving the information upon which you're basing your work right from the source. You should be studying your reference closely, identifying specific forms, and then looking away only long enough to transfer a given form to your drawing before returning your gaze to the reference.

All in all, you are doing a good job, but I want to see a couple more drawings showing that you understand what I've laid out above before I mark this lesson as complete.