Starting with your organic intersections, there are a few issues I want to address here:

• Overall the second page is definitely better than the first, but both of them tend to have the forms feel kind of limp, with a tendency to get very wiggly as they pass over other forms. While this isn't inherently a problem, one thing I want you to try and maintain is a sense that each sausage form is like a filled water balloon, maintaining its overall volume and only bending/sagging in larger arcs (like sagging on either side) rather than conforming to the surfaces beneath it so completely.

• Try to keep the forms more equal in size. Don't create a big form then cover it with small ones.

Moving onto your animal constructions, there are definitely some areas we can work on to yield growth and improvement in your skills. There are also areas where you're definitely employing a number of the techniques covered in the lesson quite well, so it's a bit of a mixed bag. Let's get started.

The first thing that stood out to me was that in a number of drawings, you tend to treat the underlying construction like it's more of a suggestion, rather than actual solid forms that you're building on top of. For example, in this pelican - you drew the torso mass and the cranial ball mass quite faintly, and then cut right across the torso. It is incredibly important that you treat every single thing you draw as though it introduces a new, solid, three dimensional form into the world. That these aren't just marks on a page we can play with freely - they abide by strict logical rules, and as long as you constantly work with them as though they're real forms in a three dimensional world, every action you take will reinforce that illusion. If however you treat them loosely and take shortcuts whenever it suits you, you will undermine this illusion frequently and your end result will just look like exactly what it is: a drawing on a piece of paper.

When drawing along with the wolf demo, you did a much better job of this - the relationships between the different forms were much more clearly defined, with the torso sausage tightly bound against the ribcage, and the additional masses built on top of it giving the impression that they're actually resting against a 3D structure. But in this wolf drawing, the intitial masses are drawn more hesitantly, causing them to appear less solid, and drawing your additional masses more as arbitrary shapes pasted on top of the drawing instead of actually wrapping around the 3D structure.

I've pointed out a number of things to keep in mind here. Let's go through them one by one:

• First, the masses along the back. Don't just draw these as an arbitrary shape. Focus on how they're going to wrap around the structure beneath them, and break them into smaller chunks. You can read more about this in these notes. Drawing a single long form all the way along the back isn't going to work out too well - one of the biggest advantages of working with these additional masses is that the way they actually layer atop one another creates these little pinches in their structure which actually conveys the impression of musculature, of various bits of nuance in the body that makes it feel more real. The complexity arises from the interaction between many smaller components. If however you have a single form do the job of many, you end up with no such complexity.

• Your paws are too complex with no underlying structure to support them. One thing that helps with paws is learning to create boxy forms from silhouettes alone - you can imply the separation of planes by introducing corners in the silhouette.

• Constructing a head is very much a matter of taking a bunch of rounded structures (like the cranial ball we start with) and finding out how to appropriately break it down into a series of flat surfaces. We can start figuring out how we're going to separate the head into planes with the eyesocket - so it's an extremely important structure. Here you drew something roughly diamond-ish, but you need to think more about how you're going to use the eye socket's outline to actually start creating these planes. Don't draw an eye-shape. You're drawing the whole socket, and don't be afraid to draw it bigger. From there, remember that the head structure is like a 3D puzzle, where all the pieces are fitting against one another as shown in the couple of head demos on the informal demos page.

I also drew a few points on this camel. I pointed out more regarding the additional masses, although I also noticed that when constructing the legs, beyond building up the sausage forms (where you neglected to reinforce the joint between the forms with contour lines as shown in the middle of the sausage method diagram), you tended to extend the silhouette of your existing forms instead of building up more forms on top of the existing structure. In my critique of your lesson 4 work, I offered this ant leg demonstration as well as this dog leg. In addition to this, take a look at these notes, which show how those forms can be built up in situations like legs.

Anyway, I've laid out a number of things for you to think about, so I'm going to leave it at that for now. I'll assign some additional pages below, for you to work on the things I've mentioned, and then we'll move forward from there.