Starting with your organic forms, I can see you’re trying to stick to the characteristics of simple sausages though there are a couple of cases where one end of your form is noticeably larger than the other. Also, keep in mind that the degree of your contour curves should not remain the same - it should be shifting wider as we slide further away from the viewer, as discussed in the Lesson 1 ellipses video.

Moving on to your insect constructions, you’re demonstrating a developing understanding of how the subjects you draw exist in 3d space, well done.

As far as line weight goes, it should be kept very subtle, and focused not on arbitrarily reinforcing the lines you want to "keep" (as opposed to the constructional lines that you leave more faint), but rather on clarifying how different forms overlap, as explained here

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape

Comfy uses this example to show what happens when you cut back inside the silhouette of a form. For the most part you’ve avoided subtracting from the silhouette, but the same principle applies when you add things to your construction, as marked on one of your weevils here

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure - forms with their own fully self-enclosed silhouettes - and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here This is all part of accepting that everything we draw is 3D, and therefore needs to be treated as such in order for the viewer to believe in that lie.

When it comes to leg construction, it looks like you are aware of the sausage method shown here and made a noticeable effort to apply it on some of your constructions, like the grasshopper. For the straight snouted weevil, perhaps you decided that that the legs you were looking at don't actually seem to look like a chain of sausages, so you jumped in with a series of complex 2d shapes to describe them instead. 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 and here in this ant leg demo and this method applied to the next lesson as well, as shown in this dog leg

On the constructions where you have included texture, there's a lot of attention being paid to decoration (basically doing what you can to make the result more visually pleasing) The thing is that every drawing we do in this course is specifically an exercise. That means that the approach we use, how we think about the marks we're putting down and what it is we're drawing throughout the constructional process is of critical importance, and how the drawing ends up looking afterwards is far less significant. While we do get into texture, we do so in more limited, specific ways.

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.

Instead of focusing on decoration, what we draw here comes down to what is actually physically present in our construction, just on a smaller scale. As discussed back in Lesson 2's texture section, we focus on each individual textural form, focusing on them one at a time and using the information present in the reference image to help identify and understand how every such textural form sits in 3D space, and how it relates within that space to its neighbours. Once we understand how the textural form sits in the world, we then design the appropriate shadow shape that it would cast on its surroundings. The shadow shape is important, because it's that specific shape which helps define the relationship between the form casting it, and the surface receiving it.

As a result of this approach, you'll find yourself thinking less about excuses to add more ink, and instead you'll be working in the opposite - trying to get the information across while putting as little ink down as is strictly needed, and using those implicit markmaking techniques from Lesson 2 to help you with that.

And that about covers it! I'll go ahead and mark this lesson as complete. Just be sure to keep addressing these points into the next lesson.