Starting with your organic intersections, you're doing a good job of maintaining the volume and solidity of each form, while also exploring how they interact with one another in a pile. While I definitely would have added some line weight in places to help clarify overlaps and bridge the difference from the basic lines and the larger, heavier cast shadows, all in all this has come along pretty well.

Moving onto your animal constructions, I'm definitely noticing a major issue that is influencing your drawings as a whole. Actually, there's a couple things:

• You're particularly selective about where and how far you push your construction, and where you choose to be more sparse. There are drawings where you seem to attempt to work with as little visible construction as possible, or where you purposely try to make marks more faint, leaving more room for details and texture. This suggests that your priorities are a little off - detail, texture, and frankly anything that makes one more focused on the end result rather than the process itself derails us from what we're pursuing here. Each and every drawing is an exercise. We're not doing this to show off what we're capable of, and to create pretty drawings by any means possible. These are each exercises to help develop our understanding of 3D space, of how forms exist within it, and how they can be combined to create more complex objects.

• The sketchbook in which you're drawing is more than likely a bit of a hindrance. It appears to be quite small, it doesn't lay flat (so you have to deal with pages trying to fold over themselves), etc. We always recommend the use of basic printer paper because it's of a decent size (8.5x11"), nothing else gets in the way while you're drawing, and it does not predispose us to being daintier with our drawings, as we sometimes can be when we know we can't just toss away a page if needed.

Now, looking over your drawings, it's pretty clear to me that as a whole you're actually not doing particularly badly. It's true that you haven't really adhered as closely to the methodologies of the lesson and the course as you should have, and perhaps you got distracted by your enthusiasm for drawing animals (as many students do, what with animals just being such an interesting subject matter), but I can see many aspects of how you've approached drawing that reflect a good underlying grasp of construction. You just didn't push yourself far enough, and let your priorities shift.

Your drawings are a bit of a mixed bag, with clear relationships/connections being defined between some forms (especially in your head constructions, where you're mindful of how the muzzles connect to the cranial ball in a way that clearly reinforces both of their status as 3D forms), but also with areas where you're too willing to treat your drawing as a series of lines and shapes, rather than abiding by the firm rules of interacting with 3D forms.

This second bit can be seen in how you're prone to just manipulating the silhouettes of your forms to add complexity - like this bison's legs where you just extended the silhouette of its back calf to add a little bump, or where you cut into the front calf's silhouette to change it from a stretched ball form to a proper sausage. Every single addition and modification to a construction must be done using a concrete, 3D form, whose relationship with the existing structure must be defined, as shown here. Silhouettes are just 2D shapes, the representation of the form on the page, not the form itself. We cannot modify these without reminding the viewer that they're just looking at a drawing.

I've pointed out some of these here, along with a few more issues. As a whole, your approach to drawing here is kind of sporadic and not structured/purposeful the way that Drawabox attempts to enforce. The key is that you're getting caught up in drawing quickly, loosely, instinctually. Drawabox is about training your instincts, developing the kinds of marks you make when given limited time to think. We do not train our instincts by using our instincts - we train them by being methodical and thinking through every action.

Another example of this is how our additional forms are not just arbitrary shapes we stamp on top of our drawing - we actually think about how the silhouette of each form establishes its relationship with the underlying structure, as explained here. Similarly, contour lines shouldn't simply be drawn on a whim - you need to consider what exactly you're looking to contribute with each mark, judging whether it is really beneficial, and whether another mark already accomplishes the same task. And of course, drawing those contour lines well is important - the contour curves along this elephant's trunk for example are quite shallow and don't do anything to reinforce the roundedness of that form.

Lastly, I highly recommend that you go back to the critique I gave you for your lesson 4 work, specifically the part talking about the use of the sausage method. Here your use of it has been inconsistent - frequently using forms that are not simple sausages, being quite loose with them, and not really building upon them with additional forms (though sometimes you tried to extend your silhouettes).

I'm going to assign some additional pages below, so you can try to implement the points I've raised here.