Starting with your organic forms with contour lines, just one thing to keep an eye on - stick to the characteristics of simple sausage forms, as explained in the instructions here. Simplicity is what gives these forms their sense of solidity, and when we use them as the base components of our construction, keeping them solid is integral.

Moving onto your insect constructions, overall you're actually doing a pretty great job, but there are just a few things I'd like to point out to keep you on the right track. I can see clearly that you're thinking a lot about the idea that every form you add to your construction is solid and exists in three dimensions. We can see an aspect of this in how you tried to construct the abdomen of this insect as a box that you'd drawn through fully. The way you approached the two curving spikes/hooks on its thorax shows this as well (and is frankly actually very well done - there aren't a lot of situations where I'd use quite so many contour lines, but I think this was an appropriate choice).

That said, there are some cases where you don't quite adhere to this way of thinking. For example, the grasshopper's head started off with a ball form, but the form you ended up expanding it to didn't actually bear any direct relationship to the original ball form. You essentailly went on to replace it, putting another form to occupy the same space as the original. While this isn't inherently wrong, it's not really what I want you to be doing right now. For the time being, when you've got a form in the world, you've got to build off it. If that means placing a box form that connects to that ball and steadily building out to your more complex head structure, then take those steps one by one instead of trying to jump out. While you may know precisely what kind of form you need, you still need to go through the steps to get to that solution spatially speaking, and that means always going from simple to complex, with the simple forms functioning as a solid base for the next level of complexity.

Similarly, looking at the head on this one, you ended up placing another form that actually cuts across the original ball's silhouette, effectively telling the viewer "oh wait no, forget about that one, it doesn't exist". Unfortunately that doesn't work - cutting across the silhouette of another form is a great way to remind the viewer that they're just looking at a flat drawing on a flat page, because you're treating those forms as though they're just flat shapes. The viewer is going to take your lead on this - they're going to believe that the forms are 3D if you continually treat them as such. They will however happily go back to understanding it as a flat drawing the moment you stop, however.

You can read a little more about this point in these notes.

The last point I wanted to make 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, 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.

Aside from that, I think your work is coming along very well, and as is your grasp of construction as a whole. Keep up the good work, and consider this lesson complete.