Your work here is vastly better than your previous submission, so congratulations on improving and showing a better grasp of the material. There are still issues, but these are issues that come up now and again. As a whole you are showing that you've made considerable effort to understand and apply the principles of the lesson.

Starting with your organic forms with contour lines, these are generally looking well done. You're showing a lot of care in getting the contour lines to fit more snugly within the silhouette of the forms, although sometimes they do get a little stiff because of this. Also, remember that as the contour lines slide away from the viewer along the length of the sausage, the degree should get wider. Closer to the viewer will be narrower. Lastly, I noticed that on the left side of this sausage, you placed an ellipse on the end that was facing away from the viewer. Because this only happened once, I assume this was an honest mistake that you were aware of, but just in case here's a quick example of the different ways a sausage can be oriented, and how that impacts where we place the contour ellipses.

Moving onto your insect constructions, you are definitely making a greater effort to think about how every element you add to your construction is solid and three dimensional, although there are areas in which you are unintentionally undermining that illusion.

For example, let's look at your louse drawing. The key issue here is that when you started, you blocked in three ball forms, one for the head, one for the thorax, and one for the abdomen, but you didn't treat them as though they were real, solid, three dimensional forms in the world. You drew them more lightly, as though you were sketching and exploring things first before committing your lines. You then went on to draw on top of the, replacing them, rather than treating those masses as though they were present within the scene.

This results in contradictions - the viewer is presented with forms that occupy the same space in the world, but that do not have any defined relationship to one another. Therefore it's like seeing two alternate universes together, and this ultimately undermines their suspension of disbelief, and breaks the illusion you're creating.

If you look at my demonstrations, I focus on the idea that everything I add to a construction is solid. Once in place, I cannot redraw or replace the silhouette of an existing form. Every new addition must build upon what was there before, either by introducing a new complete form and defining how it either wraps around or intersects with the existing structure, or by cutting back into the form that is present in 3D space. A common mistake students make is to cut back into the silhouette of the form, but that is wrong.

It's wrong because the silhouette is a 2D shape - it represents a three dimensional form, but changing the silhouette does not alter the form itself, it merely breaks the impression that it was 3D to begin with. These notes explain the difference between cutting forms in 2D vs 3D.

When following along with my louse demo, you did respect these relationships between forms much better, although there was still a visible difference between the forms you were trying to hide, and those you considered the "real" "clean" lines. If you look at my demo, I don't distinguish between the lines by drawing them any differently. I draw them all confidently, and I worry about adding line weight at the end, only adding it to specific, localized areas in order to clarify particular overlaps between forms.

Remember that every drawing here is an exercise in spatial reasoning - we are not going out of our way to make the end result look pretty and presentable. Looking closer at your louse drawing, you even have areas where you didn't draw through your forms, like where the legs overlapped the abdomen. Draw through all your forms - this is how we develop an understanding of how those forms exist in 3D space, and then how they relate to one another within it, which is the core focus of this entire course.

You can see how in this beetle horn demo and in this ant head demo that there are going to be a lot of overlaps where we construct one form over another. That's totally fine. Yes, it gets a little harder to parse what we're looking at, but again - the point is not for the end result to be clean and pretty.

Looking quickly at your dragon fly, your approach to the abdomen was definitely a lot more complicated than it needed to be. Construction approaches each structure one step at a time, focusing on simple and building up to complex. You can see, for example, how I'd approach drawing that same area in this example I drew on another student's work. There's no need to worry about complexity like how the different sections of the abdomen pinch at certain points, and flare at others. Just draw a straight form, then build up that complexity in successive phases. Don't try to tackle too much all at once.

Now, taking what I've said above into account, I want you to do an additional 4 pages of insect constructions. Don't follow the demos for these, but try and apply the methodologies they demonstrate. You can submit these additional pages as a response to this critique - it won't be a fresh submission, and won't cost additional credits.