Starting off on the organic forms with contour lines, there's a few important things here that suggest you may have jumped into the exercise without necessarily refreshing your memory on their specific instructions:

• As explained here, you should be sticking to these characteristics of 'simple sausages'. You're not that far off, but you should not have forms with ends of different sizes, with midsections that pinch or swell, or ends that are not circular. It's expected that students won't nail this perfectly every time, but it's an important goal to aim for.

• Your contour curves are pretty consistently too shallow in their curvature, and need to accelerate to properly hook around at the edges. Overshooting your curves as explained here can help with this.

• The assignment asked for two pages of contour curves, not one page of curves and one page of ellipses. That said, your contour ellipses definitely have their own issues.

• Your contour ellipses appear to maintain the same degree, instead of shifting narrower/wider as we slide along the length of the given form. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here. You can also see this demonstrated here.

• Your contour ellipses are quite confidently drawn and evenly shaped in most cases, but accuracy is definitely something you need to work on, in order to get them to fit more snugly between the edges of the sausage forms. Draw through your ellipses only two full times before lifting your pen (to avoid losing track of what you're drawing), and employ the ghosting method to improve your overall control.

Moving onto your insect constructions, there are definitely ways in which you're moving in the right direction - you're focusing heavily on building up your insects by combining simple forms to gradually build your way up to more complex results. That said, there are a few notable issues that I want to address.

First and foremost, once you draw a form on the page, do not redraw or attempt to modify its silhouette. The silhouette of a form is not the form itself - merely a 2D shape that represents it. When we change that silhouette, we don't change the form, but instead break the link between them, leaving us with something that reads as a simple, flat shape on the page. So, for example, let's take a look at this ant, specifically its head. You started out with a simple ball form, but then attempted to refine its silhouette by cutting back into it and adding complexity. Here's an explanation as to why this flattens out your result.

While that diagram does show that 'subtractive' construction can be done correctly, it is better suited for geometric and hard surface subject matter. When working with organics as we are here, it's best to start with smaller forms and build your way up, introducing new solid forms to the existing structure and either wrapping them around it or connecting them and defining their intersection with a contour line. You can see this in practice in this beetle horn demo, in this ant head demo, and at multiple points throughout this lobster demo.

The same principle also applies when attempting to extend the silhouette of a form, or when you attach further flat shapes to a silhouette, as you do along the underside of this grasshopper's abdomen, as well as on its legs. Everything you introduce to a drawing must be a solid, three dimensional form.

Speaking of legs, I noticed that you did attempt to adhere to the sausage method for constructing legs to varying degrees. For example, on the ant construction, you made an effort to apply certain parts of the technique, but you did neglect to stick to simple sausage forms (not necessarily for lack of trying - this can be particularly difficult when drawing skinnier sausages, to make it easier I'd recommend drawing bigger and giving yourself ample room with which to work through those spatial problems and engage your whole arm). You also didn't define the joint between sausage segments with a contour line as mentioned in the middle of the diagram.

The sausage method itself follows very strict, specific rules to create a base structure or armature. This isn't necessarily meant to be the final leg, but rather a structure upon which we can build up further masses, as shown here and here. This can be taken to considerable lengths, when combined with careful, patient observation of high resolution reference images. You can see this in this ant leg demo, as well as in this dog leg demo (as it is a technique used in the next lesson as well.

As a whole, there are definitely areas in which you're moving in the right direction, but I feel that there are many areas where your markmaking is a bit sloppy, and your overall control is lacking. This may well be because of the long breaks in between homework submissions - you mention leaving and returning, so I can only assume that you haven't been keeping up with the exercises from the previously completed lessons as part of a regular warmup routine. That can definitely result in a student getting rusty, and lacking the kind of control and finesse that comes into play here.

Now, I'm going to assign some revisions below, so you can apply what I've explained above. Once you complete those revisions (be sure to take your time when doing so - I want to see you push yourself to your limits in terms of care and patience), I'll see if there's any further feedback I can offer.