Starting with your organic intersections, I feel for the most part these are coming along well, and you're demonstrating an improving sense of how the sausage forms slump and sag over one another under the force of gravity. I can also see that you're making good progress with the use of cast shadows, and that you're trying to maintain a consistent, singular light source. I do feel that as a whole you will continue to improve on this exercise with practice, but you're certainly moving well in the right direction.

Continuing onto your animal constructions, I do agree that you're definitely making good progress here, and that you should definitely be proud of your growth. I can see quite clearly that you're making considerable effort to apply the principles shared in the lesson and its various demonstrations. What stands out most is that you're thinking a great deal about how your forms all relate to one another in 3D space, and how the silhouettes of those structures can be shaped and designed to more clearly establish the way in which one mass may wrap around an existing structure.

Now, that doesn't mean that there aren't a few concerns I have, but they're nothing out of the ordinary. The main one comes down to the fact that you're putting a ton of focus and time into thinking through the construction of your three dimensional structures that you're prone to perhaps not spending as much time observing your reference, or at least not doing so as frequently and as constantly as you should be. This is actually an issue I see quite a bit amongst students who lean hard into figuring out all the relationships between their forms and structures, that there's simply only so much one's mind can manage all at once.

It's not an issue that is overwhelmingly present in all of your drawings - or even most of them. It's just something that comes up now and then. For example, if you look at this cheetah from early on, much of the construction itself is in many ways fine - that is, the forms all fit together, you're wrapping them around one another, and so on - but the proportions definitely do end up feeling somewhat out of whack.

There are also cases where there are subtler elements in your reference that you may not be picking up on - for example, with the white tailed deer, in your reference its front leg isn't so completely vertical - it's somewhat more angled. These are small, but important aspects of the deer's pose and gesture which, when left out, can make the leg feel much more stiff than it actually is. These things happen of course, but it simply means that you need to balance your priorities and ultimately invest more time to allow for more mindful observation.

Of course, there's a flipside to this - once such observational hiccups are made, you did make the right call in sticking to what you'd constructed, rather than trying to correct or alter them in ways that would undermine the solidity of the structure. In this regard, you're in many ways that matter a great deal, you're approaching your constructions correctly.

I particularly did like your second red fox - the way it's angled, coming towards the viewer, can be quite tricky to capture, and for the most part you handled it very well. I would however recommend that you have those masses along its back dip down further along the side of the body, to really wrap around it and "grip" it more solidly. Right now they feel more like they're resting gently along the top - not like they're going to fall off, but like they're not as important as parts of its musculature as they should be.

Honestly, as a whole I feel your approach to construction is coming along really well - you just need to put more time into the actual observation of your reference, squeezing in more room for that in between each form you put down. I suspect that as you build those forms up, you're so focused on the relationships between the forms that you may be relying more on your memory in deciding what form to draw next, rather than consistently going back to your reference and identifying the nature of every new mass in a specific manner.

The last thing I wanted to mention is that while your head construction is definitely improving over the course of the set, I do think that you should try to draw the eye sockets themselves to be larger. Same goes for the eyeball itself - drop in a nice, big ball form for it, so you've got something more concrete to wrap the eyelids around, one at a time, as shown here. I am certainly pleased though with how you're considering the manner in which those eye sockets wedge into all the other elements of the face, creating a nice, three dimensional puzzle.

I think your work is coming along very nicely, but I am frankly interested in seeing what you can do if you put in a little more time overall to address the observational concerns I called out. So, I'm going to assign a couple additional pages below.