Starting with your organic forms with contour lines, you've largely done a pretty good job here. Your contour lines are smooth and confidently drawn, and you're clearly making an effort to stick to the characteristics of simple sausages. There are a few small deviations here and there - some pinching, some ends that get a little more stretched out (rather than remaining entirely circular), but all in all you have clearly shown your intent, and are working in the right direction.

In some spots I saw that you were doing a good job of shifting the degree of your contour lines, but on others - especially the second page - you appear to maintain a more consistent degree throughout, which causes the forms to feel a bit more stiff. I already assume you understand the mechanics of this (since you've applied it correctly in some cases) but just in case, the newly updated Ellipses video from Lesson 1 explains the concept of degree shift using some physical props.

Moving onto your insect constructions, overall you're doing a pretty good job, and are showing a strong grasp of how your constructions are made up with simple forms, and how they relate to one another. There are however a few key spots where you undermine the solidity of your structures by treating your construction as though it is just a drawing on a flat page.

Since that obviously is what we're dealing with here, we have a lot of freedom in the kinds of marks we can put down. Unfortunately, the vast majority of the marks we are free to draw are those which will break or contradict the illusion we're trying to put forward. In order to avoid this, there are some rules we can adhere to.

Most importantly, once you've drawn a form - like one of those initial ball masses we start with - avoid altering that form's silhouette, whether by cutting back into it or extending/redrawing it. This is often a shortcut students will take to build up more complexity. We can see an example of this towards the back of this insect, where we can see the original mass that was drawn, and how the "refined" shape leaves some of the old one hanging outside.

As demonstrated here, cutting back into a structure in this manner will flatten out the illusion you're trying to create. We can end up in a similar problem when we try to redraw that same silhouette - something that often happens if we draw our early masses more faintly, and then draw everything that follows with a darker stroke (something that is also visible in this insect).

The key to keep in mind is that everything you add to a construction should itself be its own complete, fully enclosed 3D form. Taking it further, we can define how that new form relates to the existing one either by defining how it intersects with the existing structure using contour lines (like in lesson 2's form intersection exercise), or by designing the silhouette so that it "wraps" around the existing structure where they make contact, as shown here.

Now I know for a fact this is something you're already capable of doing - I see it in a number of places, like this scorpion claw. It's just a matter of being sure to apply it more consistently, and to focus on the idea that everything must be its own complete 3D form (avoid anything being cut off, or adding flat shapes to bridge between gaps as you did here between the thorax and abdomen of this beetle and in the spikes added to this praying mantis' arm).

The last thing I wanted to mention 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.

Oh, actually one more "last" thing - I'm not sure what you were going for with the japanese rhinoceros beetle, in the addition of those scratchy lines along its shell. I assume this was an attempt at capturing some sort of patterning. In general, don't worry about any kind of local colour or patterning, and instead treat everything as though it is covered in the same flat white. Remember that the detail phase of a drawing is not about decoration. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

All in all, I definitely think you're doing a great job. I'll go ahead and mark this lesson as complete, so keep up the good work.