So I decided to focus my critique on the drawing of the spider as I felt that was by far the most successful. Here are some notes on it:

• You did a great job with many of the sausages for its legs, and you mindfully reinforced their joints with contour curves (which you forgot to do on your wasp). There were a few where I'd say you got a little sloppier (usually towards the ends of the legs - remember that you have demonstrated yourself to be capable of drawing these sausage forms, so consider what may have changed in your approach between the ones that were successful and the ones that were not).

• I feel you did a vastly better job here of observing your forms and thinking of each one as an individual three dimensional entity, and in many (though not all) places, established the relationships between those forms in 3D space. This was less so the case with the wasp, moth, etc. where the actual forms you chose and the way you arranged them seemed less closely informed by the reference (and may have relied more on drawing from memory).

• When drawing sausage forms, you don't have to draw through them - this is a technique we use with ellipses that helps keep them more evenly shaped, which actually works against us when drawing sausages. We do need to draw them with a confident pace (that doesn't necessarily mean quickly, but simply at a pace that allows us to keep our brain from steering the stroke as we draw).

• That section that bridges the thorax to the abdomen is incorrect, in that it was drawn as a flat, 2D shape rather than an independent 3D form. You effectively extended it off the silhouette of one form and stretched it out to the other, so we lack a sense of how it actually occupies 3D space, and how it relates to the two masses it is connecting. I demonstrated on the left side of the image how I might approach it - creating a tube (with a consistent width) across from one to the other, establishing the specific location it connects to both masses, and then wrapping additional masses to create the "tapering waist" effect afterwards. Having the silhouette of that bridge taper right off the get-go will undermine the illusion of that form's solidity, so we need to tackle this process in successive steps.

Looking at your other drawings, I have a few other concerns:

• Page 6, you appear to have used the sausage method on the legs (although you've got a couple stretched ellipses here and there), but when it came time to add additional masses/forms to them to bulk it out as needed, you seemed to only treat the structure you'd drawn as more of a suggestion. Your additions clip through those sections, zigzag around them, and largely don't treat them as though the sausages you'd drawn previously are actually solid, 3D forms present in the world. This effectively undermines the illusion of solidity of the whole drawing, because you're adding contradictory information - where some marks insist certain forms are present, whereas others don't acknowledge them. It's critical that whatever you draw on top attaches to the existing structure directly, and that you treat the marks you put down as adding a 3D form into the world, rather than just as adding flat shapes onto a page. This applies even here - we know that the leaf bug tends to have broad, flatter sections to its limbs, but they are still solid forms, and still need to adhere to the underlying structure.

• For your organic forms with contour curves, I can see that you are still struggling with getting the curves to fit snugly within the silhouette. You are drawing them in such a way that they hook around well at either end, and you're properly mindful of the realistic degree-shift from curve to curve. All that's left is the control to be able to place the line where it needs to go. To this end, use of the ghosting method is critical - I'm unsure of whether or not you're using it (or putting enough time into the planning/preparation phases). You may well be doing it (it's usually easier to identify issues where students aren't actually executing their marks confidently, but you're doing a good job of that as your marks are smooth and fluid). It's just something to consider, as it would certainly explain the difficulty with putting the marks where they need to go. Additionally, remember that you should be rotating your page as needed for each and every mark to ensure a comfortable angle of approach. This can potentially explain why you do a good job with marks in a certain orientation and less so with others.

One last thing - I did notice that you mentioned accessing the lessons on a bus being difficult (due to the lack of a solid offline version of the material). Just to make sure - are you just looking to read the material on the bus, or are you actually doing the drawing work while on a bus? I understand that everyone's got time limitations and we have to make the most of the time we can scrape together, but a bus definitely would not be terribly conducive to doing the work for this course due to the difficulties involved in being on a moving vehicle, not having a proper desk/table at which to draw, etc. This can definitely give you trouble when it comes to putting marks down, and can also impact one's mental state in such a way that it leads to more rushing, less patient observation of one's reference image, etc.

Careful, patient observation of our reference images really is a critical component to bridge the gap between a simple construction of the most basic forms of our object, and digging into the more specific forms that run along the major ones, that give greater nuance to its silhouette and its body. For example, if we look at the spider again, its thorax is essentially just a ball. As a basic structure this is entirely correct, but there's always more than that going on - forms that wrap around this ball to create larger divisions. To this end, your constructions are often a good starting point, but they are far from actually complete, instead having stopped fairly early in the process.

All in all you are making progress, and I think you're demonstrating far more patience and steadiness here than in your previous drawings. That's an excellent sign. There are some additional pages I'd like you to do in order to try and incorporate what I've outlined here, however, so I will list those below.