Jumping right in with your organic intersections, nice work here. You're piling them up in a manner that reflects a believable illusion of gravity, specifically in how they slump and sag around one another. There are two minor things I want you to keep in mind, but all in all you're doing well - draw through all of the ellipses you freehand two full times before lifting your pen, and drawing each sausage in its entirety will help you continue to develop your grasp of how these forms exist in 3D space and how they relate to one another within it as effectively as possible.

Continuing onto your animal constructions, there is similarly a lot you've done very well here, with a few points I can offer to help you continue to get the most out of these exercises. As I've got a mountain of critiques to get through today, I'll try and avoid any needless fluff and just focus on drilling down to the main points to get you moving forward as quickly as possible.

There are three main things we're going to discuss:

• Use of additional masses

• Leg construction

• Head construction

Starting with your use of additional masses, your work here is actually by and large really solid - especially when it comes to how you're designing the silhouettes of each of those masses, being mindful of where you're placing inward curves, outward curves, and sharp corners. There are just a couple suggestions I have to push this further along:

• The more we can have our masses fit together - so we can actually establish the relationships between them in 3D space - the more we can make our constructions feel grounded and solid. One relatively easy way to increase this in your constructions is to specifically look for opportunities to have the masses built up along their backs to come down along their sides and wrap around the masses at the shoulder and hip. Not only does this create more spatial relationships, but it also allows the masses to grip along the sides of the animals more strongly. Here's an example of what I mean.

• You'll also notice that for the middle mass of the three I redraw on your horse, I made a couple changes - I both took your inward curve and turned it into a very shallow outward curve (remember that because there's nothing pressing down on the mass here, in order to keep it solid we can't use a more complex inward curve, and have to stick to outward ones), and I established how that middle mass piles atop the other two in three dimensions, establishing how it wraps around. I felt that this middle mass was drawn with more of a 2D overlap between the masses' shapes, that didn't translate as clearly into three dimensions.

Moving onto leg construction, I can see that you are by and large trying to stick to the sausage method, but you are somewhat liberal in the sausage shapes you're dealing with, and don't stick as closely as you could to the characteristics of simple sausages outlined at the top of the sausage method diagram.

Additionally, I noticed that you do tend to be somewhat minimalist when building up additional masses along your animals' legs. This inherently leads to some areas deviating from those characteristics of simple sausages, but also when building upon basic sausage structures it can cause is to miss out on useful opportunities to make our structures feel more solid and complex. As shown here on another student's work, it helps not to only focus on the obvious - like blending the joints between sausages, or capturing major changes to the leg's overall silhouette. Considering the forms that exist between these obvious ones not only helps us understand how the obvious ones fit together as part of a larger structure - they also help us think about other internal structural detail that we may be inclined to ignore if we're not paying enough attention.

And the last thing on the topic of legs, these notes should help you better understand how we can approach the construction of our animals' feet.

Onto the final category - head construction. Lesson 5 has a lot of different strategies for constructing heads, between the various demos. Given how the course has developed, and how I'm finding new, more effective ways for students to tackle certain problems. So not all the approaches shown are equal, but they do have their uses. As it stands, as explained at the top of the tiger demo page (here), the current approach that is the most generally useful, as well as the most meaningful in terms of these drawings all being exercises in spatial reasoning, is what you'll find here on the informal demos page.

There are a few key points to this approach:

• The specific shape of the eyesockets - the specific pentagonal shape allows for a nice wedge in which the muzzle can fit in between the sockets, as well as a flat edge across which we can lay the forehead area.

• This approach focuses heavily on everything fitting together - no arbitrary gaps or floating elements. This allows us to ensure all of the different pieces feel grounded against one another, like a three dimensional puzzle.

• We have to be mindful of how the marks we make are cuts along the curving surface of the cranial ball - working in individual strokes like this (rather than, say, drawing the eyesocket with an ellipse) helps a lot in reinforcing this idea of engaging with a 3D structure.

Try your best to employ this method when doing constructional drawing exercises using animals in the future, as closely as you can. Sometimes it seems like it's not a good fit for certain heads, but with a bit of finagling it can still apply pretty well. To demonstrate this for another student, I found the most banana-headed rhinoceros I could, and threw together this demo.

Now, while there are definitely areas that you can certainly work on, as a whole I think you're doing well, and you've demonstrated that you should be able to apply what I've shared here on your own. Just be sure not to read through this feedback once and leave it at that - revisit it periodically to refresh your memory, and even take notes to help keep you focused on what needs your attention while you're working through these kinds of constructional drawing exercises.

So! I'll go ahead and mark this lesson as complete.