Starting with your organic intersections, there are a few issues that stand out pretty significantly here:

• Firstly, I'm not really getting the impression that you're really thinking about how these sausage forms slump and sag over one another as you add them to the pile. Instead, they seem to be interacting more like flat shapes that overlap one another on the two dimensions of the page itself. It's critical that when you draw each individual sausage form, you think about how they actually interact in three dimensions, under the weight of gravity. If we look at your work for this exercise from lesson 2, you were doing this much better then. You also did a better job of this aspect on the second page of this exercise here.

• You seem to be confusing cast shadows and line weight. Line weight runs along the silhouette of a form, but it serves a very specific purpose - to help clarify how forms overlap one another in a very specific, localized area. We keep it very subtle - like a whisper to the viewer's subconscious, rather than an obvious shout. By keeping it subtle and limiting it to specific localized areas, we avoid flattening our forms into graphic shapes with thick outlines. Cast shadows on the other hand can be as big and heavy as we want them to be - but they cannot run along the silhouette of an existing form. They are cast upon another surface, and cannot simply float in the air. What you've drawn here should have been cast shadows, being projected onto the surfaces of the sausages and ground beneath a given form, but you had them cling along the outline of each form, making it seem more like an overly thick bit of line weight. The second page is a little better in this regard too, but not by very much. Your shadows should look more like this.

• Give the lesson 1 ellipses video a watch. It was updated several months ago with a clear explanation as to why the cross-sectional slices (which the contour lines define) get wider and wider as you look farther away, and how the curves/ellipses' degree represents the orientation of that slice in space. Right now I think your grasp of that is a little tenuous, so the video should help cement it.

Moving onto your animal constructions, there's an unfortunate bit of divergence here, from what is asked of you in this lesson, and really in this course as a whole, and what you actually ended up doing. Once you got beyond drawing along with the demos, it seems to me you got really focused more on the idea of drawing animals, rather than focusing on each drawing as being just another exercise in construction and spatial reasoning. As a result, you were distracted very heavily by the idea of creating pretty drawings, and of decorating them with tons of form shading with your brush pen, despite the fact that back in lesson 2, it was mentioned that form shading wouldn't be something we incorporated in our drawings within this course.

In my critique of your Lesson 4 work, I actually did mention the fact that when you got into detail, you got more focused on "decorating" your drawings - I recommend you give that section another read.

Here are some things I want you to keep in mind:

• Your constructions should be done completely with your 0.5mm fineliner. The only situation where you should be using a brush pen is to fill in specific shadow shapes that have already been outlined by your fineliner. I know painting with your brush pen can be a lot of fun, but that isn't what is being asked of you in this course.

• Construction is all about building up solid, three dimensional forms. You were doing this before in Lesson 4, but sometimes students get so excited at the chance to draw animals that they let what they've learned slip their minds.

• Use the sausage method to construct your animals' legs. I believe this was mentioned in my critique of your lesson 4 work as well.

• Once you've drawn a form, do not attempt to modify its silhouette, whether by cutting into it or extending it. This flattens things out, as explained here. I'm seeing this quite a bit in your drawing, especially because you tend to draw those initial masses quite loosely, instead of focusing on definding them as solid, believable forms. It looks like you treat it more like an underdrawing, while doing your "real drawing" on top with the brush pen.

• When it comes to head construction, try to employ the process explained here.

Finally, at the end of my last critique I recommended you take a look at the shrimp and lobster demos from the informal demos page of Lesson 4. Both of those demonstrations show pretty explicitly how you should be approaching all of your drawings - every mark is drawn using the ghosting method to achieve specific marks rather than sketching loosely, every form is defined as a solid entity existing in 3D space, we're focusing on how those forms relate to one another in space, etc. That is pretty far off from how you tackled your own drawings here.

While I don't know if you did go through them, I think you should take another look at them and try to apply that approach to your animal constructions.

Please complete this lesson again, and when you're done, submit it as a separate submission, which will cost you another 2 credits.