So the first thing that stood out to me when looking through your homework is that, while I can't be absolutely certain of it, it looks to me like these pictures are very tight crops of relatively small drawings. This is actually something I mentioned in my last critique: between the scale of the paper texture and the thickness of the lines, it throws off the sense of scale of the whole drawing. Without being able to accurately judge the scale at which you're drawing, it becomes somewhat difficult to correct issues where you may be drawing too small, or applying too much pressure with your pen. To help with this, please make sure you take pictures of full pages, rather than tight crops.

Now, I do get the impression that your drawings are small not just from the line thickness and paper texture, but also from the way in which you're drawing. There are elements of it that feel somewhat stiff, which is a common side-effect of drawing small, as it makes it easy to slip back into drawing from one's wrist. It also limits our brain's capacity to think through spatial problems, resulting in drawings that are often oversimplified and flatter than they ought to be.

Starting with your organic intersections, there's plenty of good here in how you're establishing the relationships between forms as they slump and sag against one another, but there are areas where certain forms feel as though their relationship with the rest of the pile is somewhat flattened out, as though the form's been drawn as a flat shape pasted on top of the page, only to resolve how it interacts with the rest in three dimensions after the fact. I see this from the top-right form of this page, where the silhouette of that sausage itself does not actually interact with the forms onto which it has been placed. It exists in three dimensions, being only slightly integrated through the form that wraps around it along the top left. Even its shadow doesn't dip into crevasses, instead sticking to the form itself. Always make sure you're thinking about how a form exists in three dimensions as you draw it.

Skipping down to your animal constructions, this one came out fairly well. The head construction is especially solid, where the beak clearly wraps around the cranial mass. This construction isn't perfect however - there are a number of issues as shown here where you're still working in terms of a lot of flat, two dimensional shapes instead of thinking entirely in terms of 3D form. There is additional information on how to approach the additional masses around the leg-joints in this demonstration. And of course, don't forget about using the sausage method to create the underlying structure and armature of all of your legs. I can see you doing this to varying degrees in other drawings, but you generally don't adhere entirely to the strict requirements of the method (using simple sausages, for example).

Honestly, the biggest issue overall just comes down to patience, and the care with which you actually study your reference images. I can see areas where you're employing a lot of different concepts quite well - head construction, parts of the sausage method, the use of additional masses such that they wrap properly around existing form, etc. But at the same time, not taking the time to properly study your reference carefully and relying too much on what you remember seeing a minute ago rather than what you're looking at right this second results in configurations of forms that don't reflect your reference properly. There are also similar issues when we get into detail where you tend to rely more on patterns and repeated, auto-pilot marks (like looking at the fur along the underbelly of this cat, where it's essentially just a series of spikes rather than purposely and intentionally designed tufts of fur).

Also, while on the topic of that cat, I noticed just how many contour lines you placed along its tail. Contour lines suffer from diminishing returns, where every subsequent one will contribute less and less than the one preceding it. Adding so many doesn't really accomplish anything, and ends up being a waste of linework - it's important to always think about exactly what we want to achieve with the mark we're about to put down. What is its job, and how is it going to accomplish that task - furthermore, is there another line that may accomplish that task better. To that point, contour lines are not all equal - those that sit along the surface of a single form are limited in their effectiveness, compared to those that define the relationship in space between two 3D forms, like the ones we add at the joints between the sausages in our leg constructions.

While you have a lot of signs that you're progressing and employing concepts from the lesson well, they're spread out in such a way that I'd like to see a few more drawings before marking this lesson as complete.