Starting with your organic intersections, these are coming along decently, but I do have a few concerns to quickly call out:

• Try to stick to the characteristics of simple sausages here, avoid the more "croissant-like" effect of having the midsection get wider, while the ends get pointier.

• Build from bottom up, as though you're creating a pile. Don't sneak in sausages along the bottom later on, because the way in which the form on top is drawn is going to be influenced by the forms beneath it - if you're sneaking a form in along the bottom later, there's no way for the larger form to acknowledge its presence.

• You've got a few places where you're casting shadows upwards (specifically here and here). All of the other shadows suggest that the light source is coming from above, so this would be inconsistent with that singular light source.

Continuing onto your animal constructions, over the course of the set, I can definitely see a great deal of growth and improvement, so in a lot of regards I'm quite pleased with your progress here. I do however have a few things to recommend to keep you developing in the right direction, and to help you make the most out of these exercises.

So the first point I wanted to make is something you are definitely working at, and improving on - observation. I just wanted to call out one instance where your observation was more notably off. These things happen, but in highlighting some examples of it, it can help us remember that taking more time to identify what is actually present in our reference image can help us become more aware of what it is we're physically constructing in 3D space.

There are a couple things I've noted here on your duck.

• I identified the "negative shape" between your wing and the duck's neck - this can be a useful tool for helping you to ensure that the proportional relationships between elements of your construction are correct. It's not something I include in the lesson, simply because proportions aren't a huge focus here, and more importantly this approach focuses entirely on the 2D space of the reference, which contradicts our general focus on 3D form. It is a useful technique though, to analyze the differences and even in helping us get our proportions right as we draw.

• I noted that you placed the collar on your construction (the area where the neck connects to the torso) was way higher up your construction - and along with it, the torso extended further up as well, resulting in the wing itself connecting far lower than the shoulder.

• I also included a little demonstration on how I'd tackle the wing. Given the fact that it does appear to be quite flat (some wings can be more voluminous and thicker, but this one is much less so), I wouldn't add that contour ellipse through the middle as you did. Also, building up that mass along the bottom of the wing does suggest that the wing has more volume as well. Ironically snce the wing is flat here, we actually have a lot more freedom - at least that's ironic given the heavy focus of the course. Ultimately remember that everything we learn here is a tool - it's up to you how and where they're applied, based on the requirements of each individual situation.

Continuing onto your use of additional masses, there's actually a lot of good here. The way in which you're designing those silhouettes is good - it shows how they're wrapping around the existing structures - and the fact that in places like this wolf you're using a lot of small, separate pieces and building them atop one another helps a great deal as well. That said, on that same wolf, a lot of the forms you end up adding towards the end to add some of the smaller, more nuanced bumps, do end up feeling like they're gripping the rest of the structure quite shallowly, as though they might roll off the moment the animal moves around. Extending them further down along the sides as shown here would help counteract this, while also making the structure as a whole feel more grounded and solid.

One thing I do see you doing in this wolf is that for some of the earlier masses, you're bringing them down further along the side and pressing them against the hip and shoulder masses. This is excellent, and it'd be great to see the same in some of your later constructions, like this cat. I do honestly feel like some of these later constructions perhaps didn't receive as much of your attention as things like the wolf, so you may want to consider why exactly that was.

Continuing onto your leg constructions, I do have a few different points to share:

• Firstly, you do need to be more attentive to following all of the elements of the sausage method, as described here. You are definitely holding to it in a number of places, but it can get sloppy in a number of ways - from not sticking to the characteristics of simple sausages (I do see a lot of places where the ends are more stretched out into an ellipsoid shape rather than circular), to not using sausages at all (I see some being drawn as boxes), and so on.

• When using additional masses you tend to focus on capturing specific bumps and features along the legs' silhouettes, but there's not much consideration to the masses that might exist internally, between these outer ones. It's important to always think about construction as a lot of pieces fitting together - the more you can fit things together, the more grounded and solid it'll appear. Considering the internal/inbetween forms will also help influence the silhouettes of each mass, giving you more opportunities to define how they press up against one another, as shown here on another student's work.

• These notes on foot construction should help you in figuring out how to deal with your animals' feet.

The last thing I wanted to talk about is 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, I have shared a number of important points for you to take into consideration, and there is a lot more room for improvement and growth, but I think that you have enough information here to be able to address what you need to. Of course, don't just read through what I've said here once and call it done - revisit it periodically as you practice your animals on your own, and even take notes of important points so you can refer to them as you work through each constructional drawing exercises.

So, I'll leave you to work on that on your own, and will go ahead and mark this lesson as complete.