Starting with your organic forms with contour curves, just a very minor issue - you have a tendency to draw the forms such that their ends are more stretched out, rather than properly circular/spherical, and this throws off the form itself a little. That can result in some issues when using the sausage method for constructing legs, so definitely try to work on the specifics of the sausage forms themselves.

Overall, your insect constructions have a lot of major strengths, along with some issues I want to address. First and foremost, it's clear that you're applying the principles of constructions fairly well throughout the lesson, along with a good grasp of how each of your forms exist in 3D space, and how they relate to one another. I'm also pleased that you're giving each drawing a fair bit of space on the page, enough to work through the spatial problems fairly comfortably.

So here are the issues I want to bring to your attention:

• I think that there are some signs that you could stand to study your reference images a little more closely - often times when students start leaning really hard into construction, they can be more susceptible to drawing more from memory. That is, they tend to spend more time drawing without looking back at their reference as frequently as they should. Ideally you'd just be looking away from your reference long enough to draw an additional form, before looking back at your reference to understand in specific terms the next form you wish to carry over. Many properties of these forms - their proportions especially - can easily get lost if we try to do too much in between revisits to the reference. This can also result in us neglecting to push our constructions past a certain level of complexity - for example, if you look closely at the legs of your insects, you'll find that there's actually a lot going on there - it's not just a few simple forms, but rather there are many smaller forms that wrap around them that can be built up over successive phases of construction. This of course relies upon a closer study of the reference image.

• You are definitely very generous with line weight, and this results in some of your lines getting way too thick. Line weight itself should be pretty subtle - it's about whispering to the viewer's subconscious, not shouting at them, and it's enough to make a line just a touch thicker than another, even if it's so little that the viewer isn't immediately aware of it. Often times you will see certain sections which appear thicker - but this is not the result of line weight. The additional thickness is generally where one form casts a shadow upon another, resulting in a larger area of solid black. This does in turn also mean that in order to achieve this additional thickness, there has to be an actual surface on which that shadow can be cast. That's the difference between cast shadows and line weight - if a form is sitting on its own, you shouldn't be making its silhouette exceptionally thick, because then you'd be conflating the more exaggerated black shapes of cast shadows in a place where they could not reasonably exist. So for example, looking at the far left side of this spider's abdomen, you'll see where the line gets really thick there. That is a good example of excessive line weight.

• As a side note to the previous point, it's not uncommon for students to end up with really thick line weight because they've perhaps tried to hide a mistake. As a rule, if you make a mistake, don't attempt to correct it. Just leave it be. You don't want to get into a situation where the line weight you use is dictated by the random chance of messing up a line. Line weight serves its own particular purpose, and should be the result of intent on the part of the artist.

• I can see that you use the sausage method to construct your insects' legs, but it is in a few cases inconsistent. This is mostly my own fault - some of the demos you've followed along with are older, and were drawn before the sausage method was introduced with as much focus as it is given now. As a rule, construct all legs with the sausage method to create an underlying base structure, or an armature, specifically to capture a sense of fluidity and gesture while also nailing down the solidity of the form. Most tactics for laying down these structures lean too far one way or the other, appearing gestural but flat, or solid but stiff. Legs don't consist only of the sausage chain however - we can build up additional forms as demonstrated in this diagram. The "mistake" show in the top right of that diagram is actually something shown in the wasp demo as well - after creating that demo recording, I started to realize that the way demonstrated along the bottom is better, due to how to how it establishes a more direct relationship between those additional forms and the original sausage. You can also see how forms can be wrapped around the joint as shown in the bottom right of this diagram.

So! All in all, I think you are doing well and are demonstrating a good overall grasp of construction, of how to build up forms in a believable manner, and of the other concepts covered in this lesson. My main concern really does come back to the line weight getting too thick, so do be sure to apply that more subtly in the future. I'll go ahead and mark this lesson as complete.