Starting with your organic forms with contour lines, these are largely looking pretty good, although in some of them there is a slight tendency to allow the midsection of the sausage form to get narrower, breaking away from the characteristics of simple sausages as mentioned in the instructions. The contour lines themselves are largely looking pretty good, aside from what you mentioned yourself - you're not varying their degree. Be sure to remember that for the future.

I am glad to hear that you didn't continue onto the next lesson after completing - but might I suggest that after you've completed a lesson and are waiting to be able to submit it, that is an excellent time to work on following the 50% rule (though that of course should be something you keep up regularly).

Continuing onto your insect constructions, there are some definite areas of strength, as well as some points where there is definitely room for improvement. The most notable strength that I'm seeing is quite significant - throughout your drawings, I can see from the way that you position your forms, and how you establish relationships between them, that your grasp of 3D space and how your forms exist within it is improving and developing quite well. Not all your drawings reflect this necessarily - the scorpion, as you mentioned yourself, was definitely an area of difficulty, and I suspect from looking at it that more observation and direct study of your reference was necessary, as it seems to be quite a bit more simplified and somewhat disproportionate compared to many of your other constructions. Honestly, I don't blame you - I can't stand looking at scorpions either.

One thing I want to stress quite a bit is a simple rule you should hold to moving forward: once you've established a form in 3D space, do not attempt to modify its silhouette. The silhouette is basically the 2D shape that represents the given form on your page. It is just that, a flat shape - and changing it as some students do, often to either add complexity or refine an element of their drawing - doesn't change the form it represents. It merely breaks the connection between them. This will occur when we extend the silhouette of a form (like in this scorpion claw), as well as when we cut back into the silhouette of a given form, as seen on this grasshopper's legs, thorax and abdomen. This diagram explains why and how this flattens out the form.

So, how do we build up complexity in a structure? We add new, complete, fully enclosed 3D forms to it, and define how that new form relates to the structure by either shaping its silhouette such that it wraps around and "grips" the structure (having it function kind of like a 3D contour line), or by defining the intersection between them using a contour line (like the lesson 2 form intersections). We can see this at play in this beetle horn demo, as well as this ant head demo. I also have this more detailed lobster demo that shows this in a number of ways.

To that same point, in your grasshopper you laid down the thorax and abdomen's initial masses with a clear intent of ignoring those forms. Unfortunately, based on how construction itself works, this is not allowed. Every single mark you put down defines a form, and once it's committed to the page, you have to deal with it.

Note that when I say that everything we add to a construction must be built up additively, I also mean the little spikes/protrusions/spurs we sometimes get along an insect's legs. Instead of just attaching shapes, these need to be constructed as forms as well.

Continuing on, 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.

The last thing I want to mention is that I can see that you definitely did have something of a focus on texture and details. While you didn't do a bad job of this (there were definitely areas where you got a little more caught up in some form shading, which as discussed back in lesson 2 shouldn't be a part of your drawings for this course), there is one bit of information I want to provide you with that should help provide context to how to think about texture and detail as far as your work here goes.

What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

So! With that, since you did demonstrate solid construction in a number of areas, and those matters of adjusting silhouettes were mainly reserved to that grasshopper, I will go ahead and mark this lesson as complete.