Starting with your organic forms with contour lines, these are generally looking pretty good. For the most part you're sticking quite closely to the characteristics of simple sausage forms, aside from a few minor deviations, which are to be expected from small mistakes. The only issue I wanted to call out is that along the bottom of the first page of this exercise (labelled Pt. 1), you put the contour ellipses on the wrong end of those bottom two sausages. The contour curves suggest that the lower end of the sausages are pointing towards the viewer, but you placed the contour ellipse on the end pointing away. These notes should help clarify the issue. Also, don't forget to draw through your ellipses two full times before lifting your pen. The contour curves are fine, but whenever you draw an ellipse, you need to go around twice.

Moving onto your insect constructions, overall you're doing a pretty good job, but there are a number of issues I'd like to point out so you can continue to work on improving them. If we take a look at your grasshopper drawing (bug #8), the first thing I notice (which is actually present in several other drawings, but we'll look at it here) is the fact that you appear to be drawing with multiple different kinds of strokes.

The thorax mass, for example, appears ot have been drawn very lightly and faintly, along with other parts of your early lay-in. This suggests to me that you're drawing your construction in a two-phase construction, something that was warned against back in lesson 2's form intersection exercise. Often students will attempt to draw in this manner specifically to end up with a cleaner result, because they're focusing on drawing something that looks pretty, rather than on the fact that this is an exercise intended to develop your spatial reasoning skills. The end result is entirely irrelevant - all that matters is what it teaches you about how to understand the forms you draw and how they relate to one another in 3D space.

Furthermore, by drawing that initial mark more faintly, you then end up drawing back over it to replace the lines. Many students will end up tracing back over those lines hesitantly - something I'm glad you're not doing very much of. Regardless, it is not a process I want to see you using in this course. Instead, every single mark you draw must be drawn with confidence, not with the intent of hiding things, and you should not be tracing back over or replacing any linework. Adding line weight is a different matter - it usually involves emphasizing parts of lines that already exist, specifically limited to a small section to help clarify a specific overlap. Don't confuse it with what you're doing here.

Secondly, if we look at your rhinoceros beetle, we see the same issue - but furthermore, looking at its head, we can see that the initial mass you laid in for it is actually protruding from the "final" head construction. This means that you placed a larger ball form in the world, a solid, 3D mass, and then chose to ignore it in favour of a new, entirely different form that bears no specific relationship with the earlier one. This, in turn, leads to a contradiction being presented to the viewer, with two forms existing within the same space.

Construction is about creating clear, solid relationships between individual forms. In this case, you should have drawn the initial ball form to be smaller, then built forms for the various horn structures coming right off that ball, with a clearly defined connection between them. Never cut back across the silhouette of a form you've introduced into the world, as explained here, as this is an action that occurs in the 2D space of the drawing (since the silhouette is a 2D entity), and serves to remind us that we're looking at a series of lines on a page.

The last thing I wanted to mention 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, 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.

As a whole, I do think that your work is actually pretty well done, especially if we look at the improvement towards the last few drawings of the page. While there are elements of your approach that shift in their focus more towards the end result, rather than the core target of this as an exercise, you are for the most part working quite well in 3D space. Just keep the goals of the exercise in mind, and remember that it doesn't come down to a prettier end result.

I'll go ahead and mark this lesson as complete.