Starting with your organic forms with contour lines, a lot of these are okay, though you definitely strayed from the characteristics of simple sausages in a number of places, which suggests that you may not have been as familiar with the instructions as you should have been. It's normal for our recollection of the specific requirements of each exercise to fade over time, so reflecting on those instructions now and then - especially when the exercise is assigned as part of a lesson - is important. In this case, remember that we want to stick to two circular ends of equal size, connected by a tube that maintains a consistent width. Additionally, remember that the degree of your contour lines should also be shifting narrower/wider as you slide along the form. If you're unsure as to why that is, there's a good explanation of it in the lesson 1 ellipses video.

Continuing onto your insect constructions, the first thing that jumps out at me is that a lot of these pages have a ton of blank space. Later into the set, you start drawing your constructions larger, taking greater advantage of the space available to you on the page, but earlier on you definitely end up making your drawings a lot more cramped. This - that is, drawing smaller - can impede one's capacity for spatial reasoning, while also making it even harder to engage your whole arm while drawing. Both of these result in clumsier linework.

As a rule, focus on giving each drawing as much room as it requires from you on the page. Once that drawing is done, you can assess how much space is left over, and whether another one will fit - if you have space for another, you should certainly use it. Otherwise, it's still okay to have just one drawing on a page, as long as the pages are put to good use.

Going through your constructions, there are a lot of areas in which you're employing construction well - that is, building up gradually from simple forms, and considering how those forms are to be combined to achieve solid, believable results. There are however a lot of areas where you jump back and forth between treating what you're constructing as a real, tangible, 3D structure (that is, as actual 3D forms that exist in a 3D space), and treating it like a drawing - a series of marks on a flat page.

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. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

We can see examples of this here (as marked out in red) where you cut back into the abdomen to refine its shape. We can actually see that this wasn't just a spur of the moment thing, but rather an intentional part of your approach, in how you drew that initial abdominal mass more faintly, as though it was not wholly committed. Every mark we draw throughout this course is going to be the result of planning and forethought, and will ultimately be something we commit to the page.

A similar issue can be seen when we add shapes - for example, on the far right side of that image, where you've added spikes along the leg. Each one of those is more of a triangle shape, left open on one side - just a couple of lines, rather than a solid, 3D form. So in doing so, we're not building with 3D forms, we're really just trying to extend the silhouette that already exists.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, 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.

You can see this in practice in this beetle horn demo, as well as in this ant head demo. You can also see more examples in the context of a whole construction in the two top demonstrations on the informal demos page. The shrimp and lobster show how every mark we put down is a commitment, something we think through, and that every addition defines a complete 3D form with clear relationships with the existing structure.

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.

On that same page, you did mention that you regretted trying to shade the grasshopper's eyes - that makes sense, and is one of the reasons we don't actually incorporate any form shading in the drawings for this course, as discussed back in lesson 2.

The last thing I wanted to call out is that 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, in 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, you're definitely moving in the right direction as a whole, but since I did have a number of things to call out, I'm going to assign some revisions below to allow you the opportunity to demonstrate your understanding. Make sure you look at the shrimp and lobster informal demos carefully, and try to apply that kind of methodology to each of your drawings - specifically in terms of being more purposeful, working additively, working strictly with three dimensional forms, etc.