Hello Dcp, I hope you are well.

Starting off with your organic intersection, those came out fairly good, but there are 2 things that I want to point out:

• Avoid "mother ship" arrangements of your sausages, instead of making one big sausage and then adding smaller ones, try to keep them the same size. This will allow for more useful exploration of their interactions in space.

• When adding shadows think of one light source, don't add new light for each sausage, keep the lighting consisten in the scene. That's not a big deal in these exercises, but what I want to point out regarding lights is that some of your shadows don't follow the curvature of the form. https://imgur.com/a/y4tf0A7 I overpainted one of your pages. Always think in 3d when adding shadows, seriously start thinking that this object is three dimensional and let your pen follow the form, doesn't matter if it won't be correct for now, you will get better at that.

Moving onto your animal drawings, they look quite good and I have to say you picked quite hard references which have lots of foreshortening but you tackled them well with a lot of patience.

All that said, you are drawing the initial ball for the head(cranium) way too small, don't try to fit the whole head in this ball. The reason being are muscles,fur and fat. There is a lot of that mass covering the cranium.

For example I really like how you made a European Robin’s head, whose forehead covers so much of its head and you also put it against other parts, which makes it look like a puzzle, which is the correct way to construct a head in this lesson. You aren't doing that same mistake in every head, but it is quite frequent so I am pointing it out.

Second thing that I want to point out is that your additional forms feel a little flat or rather they don't feel like a mass but a sticker with a bit of thickness. One thing that helps with the shapes is to think about how the mass would behave when existing first in the void of empty space, on its own. It all comes down to the silhouette of the mass - here, with nothing else to touch it, our mass would exist like a soft ball of meat or clay, made up only of outward curves. A simple circle for a silhouette. Then, as it presses against an existing structure, the silhouette starts to get more complex. It forms inward curves wherever it makes contact, responding directly to the forms that are present. The silhouette is never random, of course - always changing in response to clear, defined structure. You can see this demonstrated in this diagram., your smaller masses on legs are good but those could see some more thinking of how they warp around the legs.

Also when adding additional masses, try to fit them like puzzles, which would solidify it together.

https://imgur.com/a/PDD6zEJ As shown here, also consider how big forms warp around when they are on top of each other.

Lastly, you don't construct back legs if you are going to hide them with hatching. We do it so the viewer doesn't have just complex areas with masses on top of each other to look at, but a mix of complex areas and hatched legs(simple areas). If you construct the legs and then fill them with hatching we get a mix of complex areas and more complex areas, which would overwhelm our viewer and he would have no idea where to look.

In conclusion I feel you did a good job absorbing material covered in this lesson and transferred it to paper. So I will mark this lesson as complete.

If you have any questions feel free to ask.

Have fun during your journey.