Starting with your organic forms with contour lines, the first page had a few hiccups in terms of sticking to the characteristics of simple sausages but you resolve this in your second page. While there are some minor issues here and there with the alignment of some of your contour curves, they are otherwise looking pretty good.

Moving onto your insect constructions, it's fair to say that your first page really worried me, as it gave off the impression that you didn't really understand what you were meant to be doing within this lesson. Fortunately things got better quickly, and while there is definitely an issue with priorities and goals, you are overall still doing a pretty good job in demonstrating a grasp of 3D space and the relationships between the forms you're drawing within it.

The big overarching issue here that does need to be addressed is the fact that you appear to be focused on drawing things that look... good. That is, clean, presentable, detailed, complex, impressive, etc. And while that isn't mutually exclusive from the core purpose of this lesson and this course as a whole, you do make certain choices that turn away from the lesson's purpose in favour of the end result.

For example:

• Looking at #5 and #6, you don't draw through all of your forms - specifically your legs. Drawing each form in its entirety helps us better grasp how they sit in space and how they relate to one another within it. Definitely an important component, given that each drawing is an exercise in spatial reasoning.

• In #8, I can see marks that you drew very, very faintly that were clearly attempting to be hidden, in favour of the darker "real" lines. This kind of underdrawing/clean-up pass approach was mentioned in Lesson 2's form intersections exercise as something you should be avoiding in this course. Constructional drawing is not about redrawing everything in each phase of construction - the marks we put down early on contribute to the final lines. They are not to be replaced. You can see an example of this here. You'll also see that in my demonstrations, I am constantly building things up - not replacing or redrawing.

• Also in #8, looking specifically at the legs, I can see where you had drawn a larger ellipse (or part of one) to plan out the leg. Now given that you didn't draw through this form in its entirety, it started out as a flat shape rather than something three dimensional, which is its own issue. But let's say that it had come out as a solid form, as it should have - then you went on to cut across its silhouette, an action performed in 2D space, that further reinforces the idea that we're looking at a flat drawing. This is an example of subtractive construction being performed incorrectly, as explained here. The critical point here is to understand that in this manner of exercise - constructional drawing - every single thing you add to the drawing introduces a new 3D form to it. You can't jump back and forth between treating them as 3D forms and 2D shapes. As soon as you treat something as being 2D, you lose that illusion, and 2D is all it'll be to the viewer. So if you want to cut into a form you've constructed, you have to do so with contour lines that actually run over the form's surface, splitting it into pieces that could stand on their own, still clearly defined in 3D space. Of course, as shown in those notes, that works best with geometric constructions, rather than organic ones. With organic construction, it's best to build up additively, starting with smaller forms and attaching new forms to them, defining how they relate to one another in space.

• One last one for #8 - when adding detail, it's important to understand that you are not simply decorating a picture. Every part of what we're doing here serves a purpose - to communicate information to the viewer. Through construction we convey to the viewer what they need to understand how they might manipulate the object in their hands. Through texture - that is, using the techniques covered in Lesson 2's texture section - we convey the information the viewer will need to understand how it'd feel to run their fingers over the object's various surfaces. As discussed in lesson 2, we don't use line - we only use shadow shapes to imply the presence of those forms.

• Related to the point above, because of how we use filled shadow shapes to imply textural forms, it is important that we only use filled areas for cast shadow shapes. Not for form shading, and not for capturing the "local colour" of an object's surface.

• I noticed that you seem to have employed a lot of different strategies for capturing the legs of your insects. It's not uncommon for students to be aware of the sausage method as introduced here, but to decide that the legs they're looking at don't actually seem to look like a chain of sausages, so they use some other strategy. 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, this ant leg, and even here in the context of a dog's leg (because this technique is still to be used throughout the next lesson as well). Just make sure you start out with the sausages, precisely as the steps are laid out in that diagram - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

Now, I've laid out a number of issues, but all in all I can clearly see that you do have a sense for the spatial relationships between your forms. You just need to take a step back and reflect on what this lesson is asking you to do. It's not "draw a bunch of insects". It's use insects as a lens through which to explore constructional drawing as an exercise.

As such, I'm going to assign a few more pages below, so you have the opportunity to demonstrate that you understand.