I agree that the paper you're using here is still not suited to your pens, though as I do not recommend students use sketchbooks at all for this course. As mentioned here and in my last critique, I mention that using printer paper is ideal. I'm not sure why you're insisting on finding a more suitable sketchbook when printer paper is considerably cheaper, and at least in most places easier to acquire.

Starting with your organic forms with contour lines, these are largely well done, though continue to keep an eye on the ends of your sausage forms. You tend to have one that is properly circular/spherical, and another that comes out a little more stretched. Both should be equal in size, and circular, so as to give a stronger impression of solidity. Also, don't forget that the degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

Moving onto your insect drawings, the interaction between the paper and the fineliner definitely does hinder things somewhat. The toothier paper tends to result in more bleed, resulting in thicker, less refined lines, and also encourages you to work somewhat more loosely (simply because it's hard to do otherwise with how the pen wants to behave). I genuinely cannot stress enough that you should switch over to printer paper, regardless of what reasoning you may have to want to stick with sketchbooks.

Looking at your rhinoceros beetle, what stands out most here is that while you start out with your basic masses, you don't really treat them as though they're solid forms present in a 3D world. As I've highlighted here, when adding additional forms on top of those masses, you cut across it freely, not really respecting it as a solid entity within the world but instead treating it more like a flat shape on the page that can be ignored when necessary. To this point, give these notes a read.

The thing about drawing is that we are able to put down marks of any sort, and draw shapes of any kind - but only a small subset of this infinite set of options will actually serve to reinforce or even maintain the illusion that this object we're drawing is actually three dimensional, solid, and believable. All the rest will undermine that assertion, reminding the viewer that, "oh, it's just a piece of paper with some marks on it". So we have to, at every turn, always make sure that we're constantly reinforcing the illusion we've started with.

Simplicity is key - by drawing a form so it is as simple as possible, it is easiest to give the impression that it is three dimensional. That's why we stress the importance of simple sausage forms so heavily, or rely on very basic primitive forms. With that solidity in place, we then take steps, bit by bit, to build up our construction as a whole while continuing to maintain that simplicity. Every mark we put down risks losing the illusion, and once it's lost it is very difficult - even impossible - to get it back.

On top of cutting across your basic forms, and not really establishing them as being three dimensional and solid first and foremost (you seem to treat them more loosely, not quite investing the time to ensure that you believe they're solid and 3D), the forms you add on top don't really wrap around those masses or define any kind of a solid 3D relationship with them. As a result of this and their own complexity, they end up reading more as flat shapes.

You do have better drawings - the praying mantis, for example, is much more visibly made up of individual solid forms, and it's actually not because you've covered it in contour lines. In fact, the vast majority of these contour lines aren't contributing much at all to making the construction feel solid. Contour lines tend to experience diminishing returns - the first you add to a form will make it feel much more solid and three dimensional in isolation. The second will simply reinforce the first, and the third will probably not contribute much at all. Soon you end up with marks that contribute nothing, but clutter the drawing.

With every single mark you draw, it's critical that you think about what job you want it to do, whether it is the best choice for that job, and whether another mark is already doing that task for you. Only when you decide that mark is valuable to the drawing in some way, should you move on to actually work through the steps of drawing it.

There are also different kinds of contour lines, some more valuable than others. The contour lines that sit along the surface of a single form (like the way contour lines were first introduced) are okay, but what's far more valuable are the ones that sit at the connection between two separate 3D forms, defining a clear relationship between them in 3D space. That's basically like the intersection lines in our form intersections. These are vastly more effective, and can render the first kind of contour line largely unnecessary in most cases.

Another significant issue I'm seeing is that your use of the sausage method for constructing your insects' legs is inconsistent in most cases, if present at all. It's true that not all of your insects' legs will look like a chain of sausage forms, but the technique is still incredibly valuable because it can allow us to capture legs in a way that appears solid and three dimensional, whilst maintaining the impression of fluidity and gesture. You really should be applying it to each and every creature's legs - even in the next lesson when you tackle animals - to create an underlying base structure or armature. Once in place you can and should go back over it, adding additional forms as shown here to add bulk where it's needed.

The last thing I want to touch upon is your liberal use of hatching and form shading throughout your drawings. You appear to have forgotten certain rules and restrictions for this course, such as the fact that we don't get into form shading in our drawings. As an extension of that hatching should be avoided entirely as well. Any area intended to be filled should be filled with solid black - and filled areas should be restricted to just cast shadow shapes and nothing else. We are not loosely sketching things - we are first and foremost constructing our objects in order to convey to the viewer how one could ostensibly manipulate the object in their hands, and then we capture the texture of their surfaces to convey what it might feel like to run our fingers over the surfaces of those forms. We are not sketching things or trying to make them feel rendered and detailed for the purposes of impressing people. Each and every one of these drawings is just an exercise and nothing more, with the focus being on learning how to communicate visually, and to work in 3D space.

Now I've left you a number of things to try to process and apply, so I'm going to assign additional pages for you below to demonstrate that you understand the points I've raised.