Starting with your organic forms with contour lines, you're largely doing a pretty good job here, with a few little hiccups to keep your eye on. You've done well to stick to largely "simple" sausage forms as covered in the instructions, and I can see that you're overshooting your contour curves ever so slightly to nail down how the contour curves hook back around as they reach the edge, properly conveying how the surface itself is rounded. One minor issue I noticed however was that when your sausage form turns, you tend to lose the alignment of your contour curves to the minor axis. This often results in situations where you're able to overshoot your curve on one end, but not quite on the other. When the alignment is correct, it's easier to achieve the 'hook around' on both sides more successfully. Long story short, just watch your alignments a bit more carefully.

Throughout your insect constructions, you're largely showing a good deal of improvement in your ability to think of your drawings as solid, three dimensional constructions made from individual, simple 3D components. Your last three drawings - especially the dragon fly and what I think might be a cicada (before the dragonfly) are showing considerable progress in that regard.

There are some shortcomings however that need to be pointed out in order to keep you progressing along the right track. First and foremost, there is something of a tendency to treat the earlier phases of your construction as being somewhat more mutable than they should be. By mutable, I mean that you often see those initial masses as things that are not yet set in stone - that their silhouettes can be altered and reshaped on the page (in two dimensions).

It's critical that you treat every single thing you add to your drawing as being a solid form that now exists in a three dimensional world. Every component added thereafter somehow must integrate and relate to the structure already present. If you've placed three ball forms to represent the head, the thorax and the abdomen, then if you decide you want to add to the thorax, it must be by adding a mass that actually either connects to the thorax form in 3 dimensions (think of the form intersections from Lesson 2, how we used contour lines to define the relationships between forms), or that wraps around it (like the organic intersections from Lesson 2, where sausage forms would slump and sag around one another).

If you were to decide however that you'd drawn the head too large, and wanted to redraw it, it's important to accept that the opportunity for that has largely passed. You've already placed a solid piece of matter into the world to represent the head - drawing a new one on top of it would create a contradiction in the illusion you're crafting for the viewer, and would break their suspension of disbelief. For example, looking at this drawing (the one I think is a cicada), it looks like you blocked in the head, then tried to cut back into its silhouette to make much smaller. The silhouette of a form exists in two dimensions, on the page - modifying it at this level reinforces the idea that it is just a 2D shape, rather than a three dimensional form. Instead, it would be more appropriate to start off with a smaller head mass, and then build on top of it to achieve the more irregular resulting structure. Here's a quick demo of how to do this with a wasp's head.

As a side note, one thing I really liked about this drawing was how the segmentation along the thorax and abdomen wrap nicely around the underlying forms. This is exactly correct - you're building on top of the previous phases of construction, rather than trying to replace them or act like they're not there.

Similarly, if you look at your dragon fly's tail, you'll see that you blocked in a simple mass for it initially, but what you ultimately ended up drawing for the tail ended up taking a different path, resulting in some of the initial structure peeking out from its side. Once you've set down a form, you must continue to build up on top of it. If you allow for contradictions like this (where you have marks stating that the tail is in two different positions), it is entirely like attempting to convince someone of something that isn't true, but having them pick up on areas where your story doesn't line up. It undermines their suspension of disbelief, and breaks the illusion.

Sometimes these kinds of mistakes happen by accident - for example, in this early drawing the masses you started out with were drawn very loosely, and due to the lack of control no clear form was actually established. This underlines the importance of focusing on how each individual form is drawn, and of applying the ghosting method for every mark you put down. If your linework is loose and haphazard, your construction will fall flat.

The last thing I wanted to mention was that your leg constructions tend to be pretty simplistic. Your use of the sausage method is somewhat intermittent - you employ aspects of it to varying degrees, but there are often inconsistencies where you're not necessarily following the whole technique in its entirety. It's very important that you do. This means using proper simple sausage forms (two equally sized spheres connected by a tube of consistent width - no forms with ends of different sizes, no forms where the ends are more stretched, and no forms that are just stretched ellipses as we see more from your spiders), and of course make sure you reinforce the intersection/joint between the sausage segments with a contour line. The reason for this is that the proper sausages allow us to do something most other techniques for capturing legs don't accomplish. The technique allows us to capture the solidity of the structure (such that it feels 3D), while also capturing the gestural flow of the limb. Most techniques will do one or the other, but not both.

Now, not all legs have components that look like simple sausages - but this is entirely fine. What we're doing here is creating an underlying structure or armature. Once established, we can build upon it to add bulk and mass where it is required to better capture the specific leg we see on our insect in the reference image. We can add forms as shown here, wrapping them around the structures underneath.

This technique doesn't just apply to insects, where the sausages are perhaps a little more obvious - we'll also be using it extensively through the next lesson on animals who have far more complex arrangements of forms, all built atop the same underlying structure.

Circling back to your leg constructions being rather simplistic, insect legs tend to have a lot going on, but you've basically just stopped each one only as far as the basic sausages. As you can see in these notes I did for another student with a similar problem, the legs can be taken much further by building up segmentation and such to capture all the nuanced detail present in the structure. Form and construction can be taken very far to capture most of the identifying elements of an object or creature, but it does mean building up each construction with more successive passes. Like you did with the cicada's thorax and abdomen, you should be doing the same for your insect's legs.

So! I've laid out a lot of things for you to go through here. Before I mark this lesson as complete, I'm going to assign a few additional pages for you to demonstrate that you understand these points.

As a side point, I'm not sure what scale you're drawing these things at. Since the images are tightly cropped, it's unclear whether you're drawing them small or taking full advantage of all the room the page has to offer. Remember that drawing large is important because it gives your brain more room to think through spatial problems, and also allows you to build up construction more freely, since your lines will be thinner relative to the overall size of the drawing.