Alrighty! Starting with your organic intersections, these are coming along well, and you're doing a good job of thinking through how the forms would wrap around each other as gravity pushes them down. Just don't forget that the lowest sausage form should be casting a shadow onto the ground as well. Don't leave them floating arbitrarily in space. Also, try not to create one big form and a bunch of small ones on top. Keep them closer to the same size.

Moving onto your animal constructions, you're moving in the right direction overall, with one key issue to solve that should help improve your results a great deal. It comes down to your use of the additional masses.

The thing about these additional masses is that they are each an amorphous blob of soft meat. Left floating in the void with nothing else around it, it's going to maintain a very simple form - basically a ball. On its own, it has no complexity to it. If however we were to press it up against some other form, however, the side of the mass that touches this new form will start to conform to it, and in doing so, it'll become more complex. It'll start wrapping around that other structure and whatever bumps and masses it may have. In order to do this, it'll curve inwards, and corners will form in its silhouette.

These corners exist only due to the presence of other forms to press up against our mass. That also means that without such clearly defined forms, those corners cannot exist. Take a look at these notes/diagrams, where I explain these concepts, along with a few other related principles regarding how those forms can pile up on top of one another. Pay attention to how along the tops of the forms that don't touch anything, we keep things extremely simple. They don't have varying slopes, just a simple smooth curve. On the sides that press up against other structures - including other similar masses - they wrap around those structures. They don't interpenetrate them, they don't phase through them, they build up on top of them. Every piece we add both builds upon our construction, but it also brings something of itself. Using these additional masses, we can't achieve perfectly smooth surfaces - where one mass wraps around another, it creates a little "pinch" in the silhouette.

This pinch is important - a beginner may initially see them as an imperfection, but it is these little pinches that give the impression of actual complexity and musculature to the silhouette of our animals. In many of your constructions you try and smooth things out too much. Looking at this goat for instance, you transition very smoothly from one mass to another, focusing too much on the goal you're aiming to achieve, rather than the destination these tools of yours will take you.

Constructional drawing is at its core a puzzle you're solving that will reveal to you the result along the way. Here are some notes on one of your horses, pointing out a number of the things I've mentioned already. One key thing to remember is that if a mass is going to get some sort of a corner or some other kind of complexity to its silhouette, you need to be fully aware of what form it's pressing against to cause it, ideally defining that form as well. Don't just add corners arbitrarily, only thinking about the shape you want for that one form. Everything exists together, as pieces to a puzzle all fitting into one another.

It is worth mentioning that in many ways, this goat is MUCH better than most of the others. Not perfect, but in terms of keeping the side of the forms that don't touch anything simpler, it's coming along much better.

Moving forward, the next issue to think about is head construction. Overall, here, you basically just place the eye pretty loosely and arbitrarily on the structure without really grounding it against anything else. The eye - or more specifically, the eye socket is very important when it comes to head construction. A head is a complex form - rather than a simple smooth, rounded surface like the cranial ball we start out with, a head is made up of many distinct planes all fitting together. The eye socket is where we start defining those clearly distinguished planes.

Always draw the eye socket bigger than you think it's meant to be, and do so with clear, straight lines, with each of these edges implying one side of a plane. Each such line is carved into the cranial ball. Once in place, you can then buttress the muzzle up against it, along with the brow ridge across the top, and the cheekbone along the side. All these pieces fit together snugly like a puzzle, all of them grounding one another, rather than feeling like arbitrary floating elements. You can see examples of this in the tapir head demo and the moose head demo.

Lastly, when building up the complexities of the legs, focus on wrapping things around the sausage structures, and be mindful of how these forms - like all additional forms - are meant to really hold onto that structure. Looking at your second goat (which again, is better than most of your other constructions), the big lump added to the back leg there still integrates with the leg structure with a fairly straight line, that doesn't give the impression of really "gripping" it. Those around this ant's leg and this dog's leg however actually wrap around it, holding tight.

So, I've given you a handful of things to address. I'll assign a few additional pages below for you to apply these concepts.