Very nicely done! Starting with your sausage forms, you're definitely striving to stick to nice, simple sausage forms here, although there are some cases where the ends get a little more stretched out (remember that we're aiming to keep them as circular as possible). Still, your work here is looking very well done.

Moving onto your insect constructions, as a whole these are exceptionally well done and show a very solid grasp of the core principles behind these lessons. Your results feel solid and three dimensional for the most part, and while there are two main issues I want to address, I am as a whole very pleased with how your work is developing.

The first point I wanted to raise has to do with the core principle that every single mark we put down in some way or another is intended to define either a new form that exists in 3D space, or the relationship between forms already present. Because we're drawing on a piece of paper and can effectively put down any mark we wish, we have a lot of freedom, and with that freedom comes ample opportunities to put down marks that break the illusion we're trying to produce. To put it simply, only a small set of lines will actually help reinforce the idea that what the viewer's looking at is a real, solid, 3D object. All the others will undermine that illusion and undermine their suspension of disbelief.

So, we need to adhere to certain rules that help us stick to that illusion. The first and most important of these is that we treat every single form as though it does indeed exist in 3D space, and never interact with, modify, extend, or cut back into the silhouette of a form once it has been defined on the page.

One example where we can see this is with your cicada. Here I've marked out in red where you cut back into the silhouette of one of the simpler forms you started with. As explained here, cutting back into the silhouette in this manner actually breaks the illusion that it represented a 3D form, and instead leaves us with a flat shape.

This also applies to any kind of change to that silhouette, including situations where we might extend it. For example, this scorpion claw's pincers demonstrate this issue in two different ways. The upper pincer was drawn as an extension of the main mass, causing it to appear very flat. The lower pincer was drawn as its own independent form, with a clear relationship being defined in how it intersects with that main mass (nicely done there), but then you redrew the edge of that section to create serrations. Instead, building up those serrations is better achieved by building up additional forms along the pincer, as shown in this crab claw demo as well as in this newer lobster demo.

We can also see another case of subtractive construction being applied incorrectly to the scorpion's head, but honestly the way you drew the elements inside of that initial box still feel quite three dimensional, which speaks to a well developing grasp of spatial reasoning. That said, the initial approach was still incorrect. Instead, as shown in this ant head demo, it's best to start with smaller base forms and build your way up, instead of starting big and cutting your way down.

The other issue I wanted to address was 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, 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.

So! With that, I'll go ahead and mark this lesson as complete. Keep up the good work, and be sure to apply the points I've raised here as you move into the next lesson, as they will both continue to be entirely relevant there.