Starting with your organic forms with contour curves, one thing that stands out to me is the fact that your contour curves are all roughly the same degree as they all slide along the length of a given sausage form, instead of shifting naturally as demonstrated here.

Moving onto your insect constructions, there's a mix here of signs that you clearly understand the concepts covered in the lesson, along certain issues I'd like to point out in regards to how you're approaching a number of these problems.

To start with, there are a lot of false starts on these pages where you've stopped early and decided to scratch out an attempt. As you continue to move forwards through these lessons, I'd like you to get in the habit of seeing a drawing through to the end, even if you know early on that it hasn't gone in the direction you intended. Knowing that you can always just stop and start over is a crutch that will cause you to stall, but knowing that you have to complete a drawing before you can move on will force you to get familiarize yourself with what exactly caused that approach to go awry.

Another thing I've noticed is that a lot of your drawings are very heavily focused on the end result. In most cases when I see this from students, it means that they'll take shortcuts that undermine the construction itself, and this isn't nearly as often the case with you. In fact, you do demonstrate a solid use of construction in many of these cases, but there still is an unmistakeable sense that for many of these drawings, your thoughts have been more towards how you'd go about capturing detail and texture, and how you'd make it a pretty drawing, over establishing a solid construction. This isn't the case for all of them, but on this page, this one and this one, it's clear that construction takes a back seat.

There are a few important concepts I'd like to address in this critique.

First off, construction comes in two different flavours. Additive construction is what we use the vast majority of the time, where we build things up bit by bit, establishing solid forms and then tacking further forms on top of them in such a way that the spatial relationships between them are clearly established. Subtractive construction is where we establish forms in the world, and then cut back into them. Subtractive construction is considerably more difficult, and it is pretty common for students to use it without realizing, and to do so incorrectly.

The key here is that construction is all about the manipulation of three dimensional forms in 3D space. If you take a look at this early page, specifically the wasp's head, you'll see that you placed a cranial sphere in the world, but that sphere did not end up being a part of the drawing itself. This, in the context of construction, doesn't work. You cannot add a solid, three dimensional form into the world, and then have the drawing take a direction that ignores its presence. The form doesn't go away - it's still there, but it's been ignored.

Subtractive construction is all about how to divide that form into volumes - the piece you want to keep (positive space), and the piece you're turning into negative space. We do this by drawing contour lines along the surface of a given form, as though our pen were a scalpel, defining where and how it is cut as shown in this demo I did for another student. This creates a border between two distinct volumes, and then we decide which one becomes positive space, and which one becomes negative space - or an empty void.

Now, subtractive construction isn't a tool we use often, and the more we solve our problems additively wherever possible, the better our spatial reasoning becomes, and in turn the better our ability to employ subtractive construction becomes.

Circling back to additive construction, the key there is to establish the relationships between the forms we're drawing. If you look at the claw on the big scorpion here, we see forms that are half-constructed, with no clear relationship between them. As a result, they float against one another. For a better sense of how to approach this, take a look at this demo. Additionally, when you have a form and decide you want to make that form larger, in most cases simply enveloping it (as you did throughout the body of the top-left insect here) creates a very loose, indistinct relationship between those forms. Instead, employ something more like this.

The other point I wanted to raise has to do with the sausage method, which was introduced with this diagram. This technique should be employed with every leg construction, exactly with the stipulations and restrictions stated there. That is, ensuring that each segment is a simple sausage (two equally sized spheres connected by a tube of consistent width), and that the intersections are clearly defined with a contour line right at the joint that establishes how they relate to one another in 3D space. While you employ things similar to the sausage method throughout your constructions, how closely you adhere to this recipe varies quite a bit. Follow the sausage method exactly as it is written. You may think that the leg of an insect doesn't match a chain of sausages exactly, and that's fine - what we're doing is constructing an armature, or a base structure, onto which we can add further masses later on to bulk it up where necessary. What's important is that the sausage chain allows us to capture the fluidity of the limb while maintaining its solidity - something that most other techniques can't accomplish simultaneously.

All in all, I think you've got a lot of strong drawings here where you're demonstrating a good grasp of 3D space and construction, but you frequently veer off the trail quite a bit. Keep holding to the instructions, and the specific manner in which we approach our drawings. Remember that each drawing is an exercise in spatial reasoning, and that the end result is irrelevant.

With that, I'll go ahead and mark this lesson as complete.