I think you show a great deal of improvement over the course of this lesson. There are some underlying issues I'm going to point out but if you compare how you start out to your last few pages, the growth is substantial.

Starting with your organic forms with contour curves, your linework as a whole here was really quite stiff and hesitant. It seems that when you slipped off the wagon, you broke away from remembering that the ghosting method is all about breaking the process of drawing into separate stages, each with their own specific responsibilities, the last of which being all about executing your marks with a confident, persistent pace free from all hesitation. The second your pen touches the page, any opportunity to avoid a mistake has passed, and all you can do is commit to your motion and push through.

You also weren't sticking to the simple sausage forms as explained in the instructions, which suggests that you may not have been as conscientious in reviewing the instructions. Memory is always weaker than you expect it to be - both when studying our references and when remembering instructions, it is best to always look back at the source material instead of trusting in our ability to remember things.

There are two primary issues in your actual insect constructions that I want to address. First and foremost is the that in a number of places - including towards the end - you draw in such a way that does not fully respect the idea that every single form you draw is solid and a truly three dimensional mass within a 3D world. For example, if we look at your early scorpion drawing, we see that you started out with a general mass that stretches from beyond the head all the way back to the tail. You then went on to treat that initial mass as a suggestion or a sort of rough sketch - you ended up tucking the head much further back, leaving a chunk of this initial mass sticking out from the actual "final" construction.

Given how we treat every single form as a solid entity - as though it were made of marble and placed within the world - this doesn't work. You're telling the viewer that there is a solid mass here, but that it's jutting out of the scorpion's head.

Every single mark we put down is an assertion about the thing we're drawing. Sometimes we put down marks that set us up to deviate from the actual reference somewhat - for example, making the body of the scorpion longer than it should be. If this happens, however, you should not attempt to correct it. You've made the assertion that the scorpion's body is going to be of a certain length, so keep going with it. Any correction would read as a contradiction within the illusion you're attempting to create, which in turn risks undermining that illusion as a whole.

In general, always work additively wherever possible. That means build forms on top of each other, don't try to cut back into them. If you do have to cut back into those forms and have no other choice whatsoever but to do so, then this kind of subtractive construction is not just a matter of drawing inside of the shapes you've already drawn. You have to establish a clear relationship between the piece that is being cut away and the piece that remains, and ensure that both exist as solid, well defined forms in 3D space. I actually explained this to a student earlier today, so I'll link you to the explanation I gave them here. It's under Issue #1 on the top left.

Another issue is actually not really your fault, as it is something I did in the wasp demo. You can consider this instead to be a "better" way of thinking about the problem. When you draw your legs and then go on to introduce bigger masses, instead of enveloping them in a new silhouette, or extending their existing silhouette - actions which are all manipulation of 2D shape on the flat page - we should still be working additively by introducing new solid forms and defining the relationships between these new masses and the existing structre as shown here. This will read as being vastly more solid.

Now, I think your drawings towards the end, as I said before, are vastly better done than the others, and I think they establish a much stronger sense that each component in each drawing is solid and three dimensional. The issues I pointed out here are still relevant however - for example, how you'd blocked in your giraffe weevil's abdomen with an ellipse that ended up peeking out of where the abdomen eventually ended up being.

There's one last, minor point I want to mention - you tend to fill the insects' eyes in with solid black. I want you to save all your solid black for cast shadows only - be they the object casting them on the ground, or one form casting a shadow onto another. What you're doing with the eyes is basically seeing that there's something black in your image, and since you have a black pen, you can replicate that. But you wouldn't do this for any other colour - not for purples, for reds, for blues, for greens. For those, you're treating the object like it is made of a solid, flat grey or white. Do the same for things that are black. Ignore the local colours.

So! I'm glad to see your progress and overall growth. So, I'll go ahead and mark this lesson as complete. Keep up the good work.