STarting with your organic forms with contour lines, these are coming along pretty well. You have a bit of room for improvement in sticking to simple sausage forms, but it's clear that you've been trying to, and in most areas you're succeeding. Just a few minor areas where some sausages have ends of different sizes, or where the width doesn't remain consistent, that you have to work on.

Moving onto your actual insect constructions, your work here is largely very well done. You've done a great job of building up your constructions in successive stages, starting with simple forms and then wrapping more forms around them to achieve more complex detail like segmentation and such. Overall this has helped you maintain a strong sense of solidity across the whole structure, and a believable, tangible result.

I do have a few suggestions as you move forwards, but all in all I'm pleased with how you're progressing.

The first thing I want to recommend is that it can be a little easy to see the initial masses we construct - the head, thorax, abdomen - to be less a part of the final drawing as the rest of the forms we put down. This is because we can be a little hesitant, a little uncertain about whether they're going to look correct, and so sometimes they'll be drawn a little more faintly, or the relationships they hold with the forms that come later may be a touch more loose. For example, the flea on this page has those initial masses noticeably fainter, and on this wasp those initial masses, especially the head, appear to have slightly looser relationships with the forms that wrap around them.

Now, don't get me wrong - the extent to which it's a concern in your work is way lower than what I've seen in other students'. It's a very subtle impact, but it basically arises when we aren't entirely believing in the solidity of those forms when we first draw them. We become a little more inclined to see them as lines on the page, as something that we have control over, where we could ostensibly redraw them if they weren't entirely matching the reference, rather than a solid, established form that exists in the world. You can actually see what I mean in these very small examples on the wasp. On the head, there's a slight gap where you float a little away from the initial ball form, and on the abdomen there's a little spot where you cut back into the silhouette of the form. These are things that undermine the implied solidity of those forms, and it can undermine the construction as a whole.

To put it simply, once a form has been drawn, avoid modifying its silhouette at all. Always interact with it by dropping more forms on top of it. If you must cut back into something, there are ways to do it which you'll find explained here - but they're usually better suited to geometric objects rather than organic ones. When it comes to constructional drawing, there will be cases where in order to respect the solidity of the forms we're working with, we're forced to stray from our reference images - and that's totally fine.

Again, I'm going overboard in explaining this - the issues were very minor in your work, and for the most part you demonstrate a strong understanding of the solidity of your forms. Still, I felt it was worth mentioning.

Moving on, I did notice that you seem to have employed a few 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 (and you clearly used the sausage method quite well throughout most of these), but to decide on occasion 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.

The last thing I wanted to call out is a suuuper minor point, but it did catch my eye in regards to your dragonfly at the end. Because of the way the dragonfly is framed on the page, and because of how certain parts of the dragonfly itself is drawn in its thorax/head area, we're kind of made to believe that the viewer is aligned with the middle of the object, in terms of their point of view, as shown here, in the little example I doodled at the top. The contour curves of the abdomen's segmentation however suggest that the viewer is further back, as shown towards the bottom, though this isn't consistent enough with the other visual signs of the framing and the head/thorax, resulting in a visual contradiction. To put it simply, try and think about where the viewer is looking at your object from. This will help you maintain more consistent elements to your drawings.

Looking at the reference you linked, the curvature definitely is more in line with the way you drew it, although yours is a bit more exaggerated. As a result, the mistake would be more in the head/thorax area, where it should be a little more biased towards showing us the side and a little of the back of those forms, rather than just the side straight-on.

Anyway, again that was a pretty minor point that I decided to call out because the quality of the rest of your work was as good as it is. So, I'll go ahead and mark this lesson as complete.