Starting with the organic forms with contour lines, for the most part these are coming along fairly well, with a few minor points to keep an eye on:

• You're mostly sticking to the 'simple sausage' characteristics from the instructions, although in some of these you do end up having ends of slightly different sizes

• You're doing a generally good job of drawing the contour lines confidently so they wrap properly in most cases, but your accuracy in terms of having them fit snugly between the edges is still something you're going to want to work on. Make sure you're using the ghosting method with these, and always drawing them from your shoulder.

Continuing onto your insect constructions, you're defintiely moving in the right direction as a whole, and some of your results are coming along quite well, but there are definitely issues I can point out to you to keep you on the right track, and to improve your overall grasp of the material.

The first one that stands out most to me is the incorrect use of subtractive construction. Basically when we're building up our objects, everything we add is to be understood as being a solid, three dimensional form. Something real, tangible, and not easily ignored or disregarded when it no longer serves a purpose. There is however a tendency amongst students to try and have one foot in the 3D world, and one in the 2D world, jumping back and forth between them when it suits them. This, unfortunately, is incorrect and undermines the illusion that what they're drawing is solid and real, rather than just a series of lines on a flat page.

This issue comes up in a number of places, but it's present in [your last page]https://photos.google.com/share/AF1QipNfM4BGDLXXnhVSUFe2JgH1Aaf-AmrlE_6YkSP4wpAjcsiDiOttAaTn4NUP7HHR9g/photo/AF1QipNV4mWEsH949fKBxIlKRdtDzQSZOv86a8HipzQY?key=bkE4amxNdkJyRXpON2g2Yk9RajFuV2xESE1QVkx3) so that's the example I'll use. For the drawing on the right side, because it's most noticeable there. When you started, you drew a big ball. But moving forward, you ended up cutting across the silhouette of the ball to build out the rest of your beetle's abdomen.

Cutting across the silhouette of a 3D form is wrong because while the form itself is three dimensional, the silhouette is a 2D footprint it leaves on the page. It's just a flat shape. So, similarly to how when an animal walks through mud, it leaves behind a footprint, and that footprint can tell us all kinds of things about the animal (what it was, how big it was, how fast it was moving, etc.) if we were to try and modify this footprint, we wouldn't change the nature of the animal itself. We'd just make the footprint that much less useful.

Similarly, when we cut across the silhouette of a form, we're just reminding the viewer that they're looking at something two dimensional. There is a correct way to approach subtractive construction - as explained here it involves drawing contour lines along the actual 3D surface of the form in order to separate it into two distinct pieces which each stand on their own as 3D forms. Also as mentioned there, however, subtractive construction is generally better suited to geometric construction. Organic things are best built up through the addition of forms, starting a little smaller and building up.

What you're doing is essentially separating the silhouette into different flat shapes, which is why the results don't feel as solid. This technique is something you've been applying a lot - we can see it on the heads of the bugs on this page, as well as across a number of different areas.

Additive construction instead is approached as explained here, and involves adding new, solid, 3D forms to our constructions and defining how they relate to the existing structure, either by defining an intersection contour line or wrapping that form around the existing ones.

The next point I wanted to mention was that currently you're kind of half-using the sausage method to construct the legs of your insects, and a lot of the elements that make it a very effective basis for building up solid limbs are missing. First and foremost, you're not really putting as much care into drawing the sausage segments to keep them simple (maintaining consistent widths through their lengths, keeping the ends circular instead of being stretched out, etc) and making sure that they overlap properly. This causes them to feel very much like flat shapes rather than forms. Secondly, you're forgetting to reinforce the joint between the sausages with a single contour line as shown in the diagram I linked at the beginning of this paragraph. Defining the relationship between intersecting forms in this manner goes a long way to make them feel solid and three dimensional - not just with the sausages, but with all your forms, and it's a part of additive construction as described previously.

One last thing, though a minor point - all the filled black areas should be reserved only for cast shadow shapes. There may be situations where you see something looks like it's made of a black material (like the eyes of your ant construction). Ignore this kind of "local colour" altogether, and treat everything like it's made of the same flat white material.

Now, as these are the most prevalent issues right now, I'm going to avoid overwhelming you any further and I'll let you hammer away on these in particular. The key thing to remember is that every mark you draw introduces a new form to your construction, and a new bit of 3D information. Don't treat these as being sketches where you can explore what you're thinking right on the page - every mark needs to be planned and prepared for, before being executed with a smooth, confident stroke draw from the shoulder free from all hesitation and fear of making a mistake. Furthermore, when you do make mistakes - and you will - you should not attempt to draw over these to correct them.

I'll assign some additional revisions for you to work on these as you continue to move forwards.