Overall your work throughout this lesson is largely quite well done! You're demonstrating a pretty solid grasp of many of the concepts covered throughout the videos and notes, and you're employing them effectively to yield believable constructions. There are certainly some points we can improve upon, and I'll address them each in turn, but all in all you're doing quite well.

Starting with your organic intersections, you've done a great job of establishing how each sausage sits solidly in space, and how they relate to one another within it, creating a very strong illusion of gravity to make the whole pile feel entirely believable. You've also applied the cast shadows nicely, and maintained a consistent light source between them.

Moving onto your animal constructions, I definitely agree that you were initially a little uncertain about how to approach those first few birds, but your confidence definitely increased as you got more exposure to those kinds of spatial problems, and so your results improved as well.

Looking at your wolves, there are a few things I want to address here:

• First, if we look at the additional masses you built up, like on the older wolf's neck and back, you opted to add a contour line here that I personally don't think contributed all that much. A contour line will help establish how a form is three dimensional on its own, but in these circumstances, additional masses are all about establishing the relationship between a form and the structure to which it is attaching. Contour lines don't help with this, that responsibility rests entirely on the silhouette of the form itself. Now, you did a decent job with this, though it could have been pushed a little further as shown here.

• In the notes I drew on your work, I also noted that you didn't actually put any effort into capturing the animals' feet, and left them oversimplified. One thing that can help with capturing feet is making a point to include corners along the silhouette to help imply the separation of the side/front/top planes, to make it seem more three dimensional.

• Your head construction is coming along quite well, but the linework with which you're doing it is honestly quite sloppy. Part of this is because not enough time is being invested into each individual stroke (which I think is a bit of a pattern at least at this point in the set), but more importantly you're drawing everything way too small. There's ample room with which to draw the wolf bigger, and if need be, you can always just stick to one drawing per page. Drawing bigger gives us more room with which to solve spatial problems, and to engage our whole arm, whereas drawing smaller causes us to be clumsier, putting less overall effort into each mark we make.

• When I redrew your additional masses - like the one in the middle of the wolf's back - I wrapped that mass further down, around the big thigh form. Looking at your work, you did attempt to wrap it around another form, but you chose to use the pelvis. It's important to think about which forms are actually structurally relevant in a given point of a construction. Since the pelvis and ribcage end up being fused into the larger sausage form for the torso, there's no part of it that is actually going to stick out, so there's technically nothing there for the mass to wrap around. It is an understandable mistake to make, however.

I definitely think that your understanding of how to approach these constructions continues to develop quite a bit when you hit your deer and horses, which is great to see. There is definitely more comfort and care being applied to each mark you're drawing, and greater use of those additional masses in areas like the legs. One thing to keep in mind with those masses is that their silhouettes convey to us a great deal of information.

If we think about how those masses exist prior to being applied to the construction, we can think of them as being soft balls of meat floating in the void. In this state, they're at their simplest, consisting only of outward curves. There are no corners in their silhouette.

Once they press up against an existing structure however, the area of contact takes on some inward curves, resulting in more corners and complexity in that silhouette, all in response to the fact that it is being pressed in by these more solid structures. You can see a demonstration of this in this diagram.

What this means is that we do have to think about how that silhouette communicates its interaction with the existing forms, and we have to ensure that we've thought through what kinds of forms we're putting on the structure. Looking at how you've added forms to your deer legs, you generally opted for an outward curve where it makes contact with the sausage structure, which makes it feel less like it's actually wrapping around it solidly, and more like a flat shape that has been pasted on top. As you can see here, I opt for more inward curves that feel like they're clinging to that structure, and I also try to make those additional masses exist in groups, fitting against one another rather than having one-off lone forms here and there. This is probably the biggest thing you'll want to work on.

The last point I wanted to touch upon is fur, as you'd raised it as a concern of yours. All things considered, there is definitely improvement in how you tackle it, but still room for improvement. The fur we see here is very haphazard - a lot of separate little spikes and zigzags, sometimes crossing back and forth over the form's existing edge (rather than purposefully extending its silhouette), mostly auto-pilot kind of scribbling. Comparatively, when you got to the hybrids, especially on that deer/horse based body, you were focusing more on individual tufts of fur, taking more time to design each mark. Of course much more can be achieved with that, but it's getting much closer to what I explain in these notes, where each tuft is individually designed, and I purposely avoid falling into repeating patterns.

So! All in all you're making good progress and are moving in the right direction. As you continue practicing and applying what I've shared here, you should see further improvement. For now, however, I think you're good to consider this lesson complete.