All in all you've got a pretty great start here, though there are a number of things I need to point out.

To start, your first page of organic forms with contour curves is well done. Your sausages are sticking pretty close to the characteristics of 'simple sausages' as outlined in the instructions for this exercise, with just a couple places where the ends are either non-circular/spherical (more stretched out) or of different sizes. Your second page tends to lean more into having ends that are stretched out however, and here your contour curves aren't drawn as carefully. Those that don't stay snugly between the edges of the sausage forms don't quite achieve a sense that the contour lines are actually resting along the surface of the form. Definitely something to keep on top of in the future.

Moving onto your insect constructions, the wasp demo didn't go too well, but I think overall you show some pretty immediate improvement right after, so it's probably not worth discussing. Looking at your louse demo drawing, you're showing a much greater respect for your forms and linework here, although some of the linework along the abdomen gets rather sketchy. Remember that we are still adhering to the ghosting method for every single mark we draw, without exception, throughout this entire course. Sketchy half-lines suggest that you aren't consistently using the ghosting method, and so you need to make a point of doing so more consistently.

While there is some sketchy behaviour here and there in the rest of your drawings, it's not always the case. You've got many places where your linework is more confident and purposeful, showing clear signs of prior planning and preparation.

One thing I'm pleased to see is that you're generally showing a great deal of respect for the forms you draw. That is, you're interacting with your drawing as a three dimensional entity - when you need to add to it, you do so with more 3D forms, instead of interacting with it as though it's just a 2D drawing. There are a few places where you break with this - for example, here we can see you extending the silhouette of the ball form at the end of your ant's body, to create the pointed section. Since the silhouette of that form is just a 2D shape, manipulating it in this manner will remind the viewer that they're just looking at a flat, two dimensional drawing. Instead, you should be adding the pointed section as a separate 3D form which you attach to the ball form - like a cone.

As I mentioned before, you generally stick to working with 3D forms only, but it is important that I point it out when you don't.

Another concern I do have is that you're not entirely consistent in using the sausage technique for constructing your insects' legs, and when you do, you don't necessarily abide by every aspect of it. The sausage method is very specific: it relies on constructing simple sausages for your leg segments (which have circular/spherical ends of equal size and maintain a consistent width through their midsection). We then reinforce their joints with contour lines, and we do not include any other contour lines along their lengths. This is all demonstrated and explained in this diagram.

The legs of your insects, and in the next lesson where this technique will still be extremely relevant, may not always appear to match the appearance of a simple chain of sausages. That's entirely fine - all we're doing is laying down a base structure, or an armature, that captures both the illusion of solidity and the gestural flow of the limbs. Once it's in place, we can add additional forms to it as shown here to add bulk where it is necessary.

The next point I wanted to raise has to do with how you're tackling fur/hair texture. Remember that texture is not made up of lines - in this case specifically, you're not capturing the individual strands. For internal detail that does not break the silhouette, the marks we put down are all shadow shapes - shadows cast by clumps of hair onto their surroundings. For detail that does break the silhouette, we're essentailly just adding complexity to the silhouette as we did when adding edge detail to leaves in Lesson 3. Again, this is not done with individual line segments - it is accomplished by adding shapes to that silhouette - tufts of fur or hair. This is all demonstrated in the next lesson (specifically this section), so I don't expect you to know this just yet, but it is worth pointing out so you know to pay attention to it in the future.

The last issue I wanted to point out was that you have a tendency of filling certain sections of your drawings in with solid black. Often times it's when you see something in your insect reference that is itself black - part of a shell, a stripe, etc. In the rest of our drawings, we don't make any effort to capture local colour (if something's red, yellow, etc.) so we should not be attempting to capture the local colour when something is black either. Instead, I want you to save your filled black shapes for cast shadow shapes only, and nothing else. Filling eyes with black, for instance, will flatten them out.

Additionally, when I say cast shadow shapes, I mean specifically the shadows that a form casts on the surfaces around it. There are many places in your drawings where you're confusing it with form shading (where a surface gets lighter or darker as it turns towards or away from the light source). As discussed here in Lesson 2, we are not delving into any form shading in this course, and I don't want students to include it in their drawings. Focus only on cast shadows.

So! I've laid out a number of things for you to keep in mind, but I do think you're doing well enough to move onto the next lesson. As such, I'll go ahead and mark this lesson as complete.