I like the over all location of these. Here are some "rules of thumb" for such inlay tie joints...just a guide mind you...not set in stone by no means:
The geometry and size of the "bow-tie" [蝶々型 chōchō-gata (Butter fly)ちぎりChigiri (tie)]
should be such that 1/3 bridges the gap...2/3 is into the wood on the other side...
The throat of the "bow-tie" is usually as wide as the gap is itself at minimum...This often dictates the geometry and size of the "bow-tie"
These are natural checks, as you can see there is still connective tissue bridges in some areas...Try to avoid taking these out and put the "bow-tie" someplace else...or...put them over the connective bridge and take it out completely...
I would also not here now that there is a concept in Asian arts and crafts (and in life in general) called Wabi-sabi 侘寂, with forms of it in the art of Kintsugi 金継ぎ. This is the art and design of..."beautifully broken."
Acceptance of transience and imperfection. The aesthetic that sees beauty in the imperfect, impermanent, and/or incomplete...Your table project is a perfect example of this. As such, there are many ways, beyond just the "bow-tie" for repairing, and/or filling those voids that will not only structurally augment and strengthen the wood, but add aesthetic elements as well.
Here is a link, related...but not really...LOL...that you might find insightful...If you go to other pages he talks more about the "bow-tie."
TRADITIONAL BOATS - EAST AND WEST - AT DOUGLAS BROOKS BOATBUILDING
Tosa Tomo Designs
Confucius (551 BCE):
"I hear and I forget. I see and I remember. I do and I understand..." "...Real knowledge is to know the extent of one's ignorance..." Socrates:
的 cannot teach anybody anything. I can only help them think..."
"Seek to understand, before seeking to be understood..."