Starting with your organic intersections, just one thing to keep in mind here - always draw each sausage form in its entirety. Don't cut them off where they hide behind others, as we want to fully grasp how they sit in space, not how they exist as a shape on the page. Other than that, your work on this exercise is solid.

Moving onto your animal constructions, it's very clear to me that over the course of this lesson, you have improved a great deal. While you didn't necessarily utilize all the tools and techniques that were given to you - and I will address that - you did as a whole demonstrate a well developing understanding of how to build up your animals in 3D space, creating believable results. As a whole I am quite pleased with how things came out, especially towards the end, so I'm going to focus my critique on just hitting the main points where I feel some improvement can be had.

First and foremost, I did notice that you chose not to use the sausage method when constructing your legs. This is something that I brought up in regards to your lesson 4 work, but that was more than two months ago and I can imagine that perhaps over that time you forgot. The fact of the matter is that the sausage method is valuable, and while it is your choice whether or not you want to use it outside of this course, it is something I want students to familiarize themselves with while they're here.

The benefit of the sausage method is that it allows us to capture both the illusion of solidity of the form, while also capturing fluidity in how it moves through space. Most approaches for capturing legs will lean more towards one or the other - either appearing more solid but stiff, or more gestural but flat. This allows us to construct a reliable base structure or armature, upon which we build up additional forms.

In your drawings, you had a tendency with the legs to jump into greater levels of complexity a bit too soon, or ended up without a reasonable way to tack on certain kinds of complexity, resulting in some areas (like your bear's legs) to come out a little oversimplified. As you can see here, the sausage method can be combined with additional masses being wrapped around that structure to capture the greater sense of nuance and complexity of that animal's musculature. Using this technique, areas like the rhino's lower legs, where it jutts out, can be captured in multiple phases, allowing for us to maintain that overall solidity instead of breaking away from the constructional method's core principles.

Moving on from there, the next thing I wanted to talk about is your use of additional masses in your constructions. Now, there are a lot of places where you utilize this pretty well, but there are improvements that can be made. In these notes, you'll find a pretty hefty breakdown of a number of common problems that arise when trying to work with these additional forms. They go over things like where you can introduce a little more complexity (specifically where a form wraps around underlying structure) and where that form needs to remain as simple as possible (like where it is standing on its own, not under the influence of any other forms). These are issues I see arising in cases like the masses along this bear's back (mainly the one towards its shoulder), and where this ibex's shoulder doesn't quite influence the mass along the back above it.

Those notes also address cases where our additional masses get too big, and try to take on too many jobs - like this wolf, where the mass along its back combines many different areas that could have been captured as a series of layered forms, which would have introduced greater nuance to its musculature.

The last point I wanted to talk about is just about fur. I can see a variety of places where you try to tackle adding a furry texture to your animals, and some are definitely more successful than others. I think as a whole you're pretty good with designing your tufts of fur more intentionally and not falling into the trap of just zigzagging lines mindlessly (although in cases like the lion you do seem to get a bit lazy). The key thing to ask yourself is whether you want the fur to come out more short and spiky, like something that would be a bit rough to the touch, or whether you want it to feel smooth and soft.

Harsher, rougher fur will involve a lot more spikes, really drilling into the viewer that the fur is present, and that it's gonna hurt to touch. You end up with a lot more of those tufts, and it'll be more present both around the silhouette and inside of it. Softer fur however will have a much lighter touch - fewer tufts along the silhouette's edge, and where it does exist within the silhouette it'll be less about spikes and more about longer, flowing lines that don't necessarily form little spikes.

At the end of the day, fur is a tricky problem - what's most important is determining the differences in the kinds of fur you want to draw, and pinning down how you can go about suggesting that impression to the viewer, rather than focusing on trying to reproduce what you see in your reference image. As a whole, all of what we do here is visual communication. We're not copying the photos, we're instead trying to convey information. Often that requires adjusting what it is that we draw to better get that information across.

So! Keep these points in mind. All in all your work here is still looking pretty good. I'll go ahead and mark this lesson as complete.