Before we get started, I wanted to comment on the point you raised about line weight. While it is important that you try to avoid pressing too hard with your pen (that, along with gripping the pen too tightly, is generally bad for your wrist and can lead to clumsier linework), beyond that I'm not particularly worried about the weight used for your drawings, as long as prior to your actual line weight pass, you try and keep it fairly consistent.

Anyway! Starting with your organic forms with contour lines, you're deeeefinitely making a more significant effort on the second page to stick to the characteristics of simple sausages, compared to the first. Definitely focus on sticking to those equal, circular ends connected by a tube of consistent width. Aside from that, there's just one other thing - make sure you're mindful of how the degree of your contour lines shift as you slide along the length of a given form. It seems right now you're sticking to about the same degree, so give the ellipses video from lesson 1 a watch to refresh yourself on this concept. The video was updated some time ago, and I explain why this happens with props.

Moving onto your insect constructions, by and large you're actually doing a very good job. Most notably, you're building up your constructions with a lot of attention to how each addition is its own, solid, three dimensional structure, in most cases. There are some spots where you break away from this however, and your drawings tend to flatten out as a result.

The best example of this is on this drawing where your construction is a lot more vague, and a lot of the complexity is approached through the addition of individual lines and shapes, rather than forms.

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose - it just so happens that the majority of those marks will contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

We can see this happening on this insect's head, but the way you've added the spikes along its back, and the bump towards the top of its thoraccic section, also feature a similar issue, because you're still adding onto the flat shape of the silhouette. Rather than a new structure being introduced, you're extending the shapes that are already present.

Instead, whenever we want to build upon our construction or change something, we can do so by introducing new 3D forms to the structure, and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

You can see this in practice in this beetle horn demo, as well as in this ant head demo.

We can also see this more at play in a number of your own constructions, like this cicada, where you're definitely thinking much more about how everything sits in space. This is all part of accepting that everything we draw is 3D, and therefore needs to be treated as such in order for the viewer to believe in that lie.

It's worth mentioning that a misunderstanding of how to employ line weight can also push students in this incorrect direction. Rather than using line weight to somewhat arbitrarily redefine or emphasize parts of your forms' silhouettes, focus on it as an opportunity to help clarify how certain forms overlap others. Since we're drawing through our structures, it can sometimes be hard to tell when a form is in front or behind. Using line weight in specific, localized areas to help clarify these overlaps can be very effective, but it's important to remember only to apply it to specific areas rather than along longer stretches of a given silhouette.

Here's an example of line weight being used in this manner.

Lastly, 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, in 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.

Now, I've pointed out a few things to keep in mind - and they certainly are important, but I'm still confident your work is coming along quite well. So, I'm going to go ahead and mark this lesson as complete, and leave you to continue working on this through the next lesson. Keep up the good work.