Starting with your organic intersections, I've got a few things to point out that you can work on here:

• Avoid arranging these with one big one and a bunch of small ones. Try to make them all the same size.

• Avoid little gaps - you actually don't have very many of these, but in general it helps a lot to think of each sausage as though it's behaving kind of like a 3D contour line, wrapping around another form tightly, rather than floating in space.

• For the cast shadows, pick where your light source is going to be ahead of time, then try and think about how each form relates to that light source. You tend to have a really heavy shadow coming off the bottom form, but then don't keep that going for all the other ones.

Moving onto your animals, honestly there's actually a lot of good here. You're clearly showing that you're thinking hard about how you're building each construction up from separate, simpler forms, and in a lot of cases it does work out well. There are however some things I want you to think about as you add those additional masses, which should help you continue to improve.

Firstly, let's talk about how you draw the additional masses. In a lot of cases, this is definitely moving in the right direction. Sometimes students will just slap them on, either drawing really simple silhouettes or overly complicated ones, but either way not really showing how those masses wrap around the structures. With things like this zebra you're clearly thinking about how the masses along the shoulder, backside, and belly try to wrap around the torso. Could be a bit better, but definitely in the right direction.

Looking at the legs however, you tend to end up in a "hotdog" situation where you kind of create a bun with an empty strip down the middle. This just ends up looking weird - it's better to "twist" the forms around so they interlock in more interesting ways. After all, if you look at musculature, it tends to wind its way around our limbs. Here are some notes right on your horse.

The thing about these additional masses is that we can think about them first as they exist on their own, floating loosely in the void. Here they exist in their simplest form, with their silhouette being made up only of outward curves, like a soft ball of meat or clay. Once they actually press against an existing structure though, that's when their silhouette starts taking on more complexity, forming inward curves and corners to respond to what they're touching. So the side that makes contact gets more complex, while the side that doesn't touch anything remains simple. Here's what I mean.

Basically you want to make sure that any complexity that forms in the silhouette is only in direct response to an existing form in the rest of your animal's structure. And as soon as you add a new form to that structure, it becomes part of it - so the next one needs to wrap around it too, if they touch.

Moving on, the next thing I want to look at is how you're approaching your head constructions. It tends to vary, but overall you are moving in the right direction. Defining your eye sockets, figuring out how the muzzle fits up against it all, etc. There are some small improvements that can be made though:

• Be a bit more generous with how much room you give those eye sockets, and eyeballs. Note just how big I make them in these notes. Remember that we're not just focusing on how much of the eye we can see - because that itself is going to just be a small portion of even the eyeball. Instead, we're thinking about the skull underneath - or more accurately, making one up. The focus is less on being accurate, and more about wrapping our heads around a potential structure that could exist there.

• Remember that ensuring you're giving yourself enough space for the whole drawing is important - because even if you've got enough space to navigate the body, the head's going to end up real cramped. Prioritize giving each drawing as much room as it requires over cramming several drawings to a page. If you end up with just one drawing on a page, then so be it. I'm mainly looking at this page which has some particularly small drawings.

• For drawing your eye sockets, an upside down pentagon tends to work well because it gives a good flat surface for the brow ridge, and then provides a socket to help fit the muzzle in as well.

So, I've laid out a number of things for you to work on. You are moving in the right direction, but I'd like to see a few additional drawings, so I'll assign them below.