Starting with your organic intersections, I have a couple things to call out here:

• Firstly, when laying out your forms, always think about maintaining stability in your growing pile, such that if you step forward a moment, the pile will remain steady where it is, instead of collapsing with the various forms rolling away. So to this end, laying them across one another perpendicularly is good, but attempting to pile them up in parallel as we see here is inevitably going to tumble off.

• Your cast shadows do need work. Rather than explaining it, I've filled in areas of shadow that were missing here, along with a couple notes. The most important thing to keep in mind - and this goes beyond just cast shadows, but applies to everything involved in capturing 3D objects/scenes on a flat page - is that you have to think beyond what can be seen. Note where I added a red dotted line showing the edge of the shadow being cast by that sausage - if the sausage weren't visible, but the cast shadow still were, that's how big the shadow would be.

Continuing onto your animal constructions, before we get into points specific to this lesson, I wanted to call out some areas where - while you've definitely shown improvement and growth overall - issues called out in Lesson 4's feedback are still indeed present (though to diminished degrees - so I do see that you've made efforts in this regard). You can think of these as being cases where you perhaps lost focus and took shortcuts or skipped steps - things you will need to keep an eye on.

• As shown here, there are a number of places where you are still altering the silhouettes of your forms - as marked in red where you're subtracting from them, and in blue where you're extending them out. For the blue areas, these should be handled with the use of additional masses, drawing completely self-enclosed forms, and for the red you simply need to accept that the form you've put down cannot be cut down in order to better match your reference, and that this is the structure you have to move forwards with.

• In this deer's legs we can see that you've deviated from the sausage method in a couple of ways. Firstly, you're not adhering to the characteristics of simple sausages, and secondly, you're neglecting to define the joint between the segments with a contour line. Fortunately you are following it much more closely in other cases, although I didn't see you apply the extra info I shared with you before about building upon those sausage structures with additional masses, relying more frequently on altering the 2D silhouettes instead.

Continuing on, let's talk about about how we can approach those additional masses to better capture how they actually attack to the existing structure. It all comes down to the manner in which its silhouette is designed. One thing that helps with the shape here 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.

You can also see this in action here on your goat - in blue I corrected some underlying issues with the ribcage not being long enough (should be half the length of the torso as noted here), and brought the top edge of your torso sausage to rest against the ribcage instead of adding arbitrary padding along that side. Then in red I drew the masses on top, focusing on how each one individually adheres to the existing structure - and around the masses preceding it, which become a part of that "existing structure".

You'll also note that I added ellipses right at the top of the legs, to establish the area of muscle at the shoulder and hips, so that the masses along the back would have something additional to wrap around (as the more contact we define with different structures within the body, the more the overall thing feels more solid and believable). So it's not about inward curves and sharp corners being bad, but that such complexity must have a context in which to exist.

Continuing on, as a quick side note, this diagram should help you to better consider how to approach constructing your animals' feet.

And lastly, I'd like to take a moment to talk about 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'm going to assign revisions below, so you can demonstrate your understanding of these points. In particular I'd like to see that you clearly understand the point about not modifying your forms' silhouettes, as that is quite important. Additionally, I'd like you to adhere to the following restrictions when approaching these revisions:

• For each construction, I'd like you to write down the dates of the sessions you spent on it, along with a rough estimation of how much time each session was given. You are welcome and encouraged to spread a single construction across as many sittings and days as you require to do it to the best of your current ability, with consideration to all the points I've raised here and previously - there is no requirement for you to be finished before you get up, having done it all in one go.

• Do not work on more than one of these constructions in a given day. Again - you're allowed and encouraged to spend multiple days on one, but if you put the finishing touches on one, do not start the next that day. This will help keep you focused on a singular task, rather than being tempted to call something done so you can jump onto the next one.