Starting with your organic forms with contour lines, one thing that stands out somewhat is that it appears you may not have been as careful in rereading the instructions for this exercise as you should have. You don't seem to be entirely adhering to the characteristics of simple sausages, instead allowing for ends of different sizes, pinching through the midsection, and ends that get a little more stretched out (instead of remaining entirely circular). You're not that far off the mark, but it is enough to suggest that you weren't aware of this aspect of the exercise, and thus weren't aware of what was being asked of you.

Moving onto your insect constructions, there's some definite moves in the right direction, as well as some issues I'd like to clear up in order to keep you on the right path.

First and foremost, I can definitely see that you're making a concerted effort to work in 3D, to arrange your forms so they are defined with relationships between them that exist in three dimensions, rather than just on the flat surface of the page. That said, there are some little mistakes that actually undermine some of the solidity you are working to produce.

Let's look at these marks I made on one of your beetles. Starting with what I wrote in green - these lines define really strong relationships between your forms, reinforcing the illusion that we're looking at something in 3D. Once we've got our forms defined in space, however, something we absolutely want to avoid is altering or adjusting their silhouettes (as you did when cutting back into them, as marked in red).

The silhouette of a form is just the 2D shape on the page that represents the form itself. Altering the silhouette by either cutting into it or extending it doesn't actually change the nature of the 3D form - it merely breaks the connection between them, as shown here. While there are ways to cut back into a form in 3D space (as shown in that diagram), it doesn't work so well for organic subject matter. In this case, we want to work additively - that is, introducing new, complete, enclosed 3D forms and defining their relationship with the existing structure. That's either by shaping their silhouette so they 'wrap' around the existing structure, or by using contour lines to define that intersection.

You actually do attempt to do this correctly when building up additional little protrusions on the beetle's leg so that's a definite step in the right direction. You can also see this at work in this beetle horn demo and on this ant head demo.

Moving forward, another notable issue is that while you've done a good job of defining those relationships between forms like the head/thorax/abdomen on that beetle construction, you are neglecting to do so when it comes to the legs. Remember that the sausage method comes with specific steps. Firstly, we want to make sure we're sticking to simple sausages, and secondly - we define the joints between those sausage segments with contour lines. That's something you're missing right now, and as a result the legs can more easily end up feeling kind of flat.

On a more minor point, I do want to remind you that as discussed back in Lesson 2, we don't include any form shading in our drawings for this course. It seems you've definitely done a ton of that in your scorpion drawings. The only thing we use our areas of filled black for is for defining cast shadows, either between constructed forms, or for textures.

Overall you are doing a pretty good job, but I do want to see a couple more pages of you applying what I've explained above. Along with the critique, I would like to make sure that you look through this lobster demo, as it should help reinforce what I've called out here.