Starting with your organic intersections, I can understand having difficulty with an exercise, but by definition if your response is to avoid it, I'm not really sure we're at a point where we can reasonably talk about other ways of looking at the exercise. The first step would of course be for you to incorporate the exercise into your warmups - to ensure you are tackling it now and then - rather than only gravitating to the exercises you feel comfortable with. It's for that reason we push students to work from a warmup "pool" consisting of all the exercises, picking from that pool at random rather than allowing your own choices and inclinations to interfere.

As far as the sausage forms themselves go, they're looking fine and I expect your grasp of how to lay them out across one another in a perpendicular fashion will improve with mileage. That said, there's two main issues I do want to call out so you can specifically address them in your own work.

The first of these is to do with the far right side of the second page, where you've added a ball form there. Given that this is the only place I'm really seeing this issue, it's not a big deal, but it is an opportunity to stress the focus of this exercise. This exercise is about creating an impression of stability - a pile that feels grounded, as though it's still going to sit exactly as it does now, a moment from now, or an hour from now. Generally you do this well, but that ball is just floating there, and it does suggest that your focus here was on something other than that kind of stability. So keep that in mind, and in general try and build upwards - don't find places to sneak forms in along the side or underneath, as there's no way to have a form you've already drawn then respond to the presence of a new form, in the manner that would be realistic.

The second point is to do with your cast shadows, which are running into two main issues. There are places where you aren't allowing your cast shadows to fall into the gaps between forms, and generally you're making the shadows cast by your sausages way skinnier than they ought to be. I've marked out some corrections here and have also tried to squeeze a little diagram in there showing how the shadow a form casts is, as it gets closer to the surface it's casting upon, going to occlude more and more of it. This does not however mean that the shadow itself is small - the shadow is large, it's just that most of the form casting it is blocking it from view.

I apologize for the roughness of the diagram - we're actually still recovering from a hurricane and haven't had power/internet all weekend, so I'm attempting to get through some critiques on my ipad at a mall food court and it's not... a great setup.

Continuing onto your animal constructions, there's a lot of ways in which you've certainly made headway and tried to push your use of some of the techniques shared throughout this lesson, although there's also pretty significant signs that you may not have given yourself as much of a chance to apply the feedback I shared with you previously.

In my previous feedback, I highlighted two main things to be aware of:

• The importance of ensuring you're always engaging with your constructions in 3D space, with actions occuring in three dimensions, rather than just engaging with the construction as a series of lines and shapes on a flat page. I noted that this actually wasn't present in your work in Lesson 4, but I made a point of highlighting it as a concern anyway, as it's definitely something that can still come up going forward if students aren't made aware of it.

• That while you were generally using the sausage method, you were not defining the joints between the sausage segments.

It seems both issues are present in your work - with the tendency to made adjustments in 2D space being more prominent than before, and there being instances here along with not applying the sausage method in its entirety (forgetting to define those joints), you end up using an entirely different approach altogether. I've noted both of these here on this construction of yours.

While I'm sure none of this was intentional, it does show that there is a serious concern in how you're making use of the feedback that is provided to you. I noted that your strategy for dealing with the organc intersections - that is, of avoiding the exercise altogether - was unwise, and it seems that you may want to reflect on how exactly you're going about using the material to its greatest effect. Often reading through it once is not going to be enough. This feedback is dense, and brings up a number of things to keep in mind. There are situations where you may need to review that feedback periodically over time (both to let it sink in fully and to ensure you're aware of what you need to be addressing), and given that two months have passed since I provided that feedback, it's entirely normal to forget things if you're careless in how you're processing the information.

Another suggestion would be to take notes to summarize the feedback so you can keep those notes open beside you as you work on the next set of homework. You'd still want to revisit the original feedback now and again, but at least this way you'd have clear access to what you need to keep in mind.

Anyway, in regards to additional feedback I have that wasn't addressed in previous lessons/feedback, there are two main things I want to discuss.

The first of these is the use of additional masses. I can see that you're putting a lot of effort into thinking through how you're designing the silhouettes of those masses, although this can certainly be improved further to ensure that every aspect of those silhouettes reinforce the impression that we're looking at something solid and three dimensional.

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.

Always ensuring that you're limiting yourself to the minimum amount of complexity you can get away with is key - although keep in mind that there are going to be places that require an inward curve (to help establish how one form is wrapping around another in a given place, to establish that they are in fact touching), and defaulting to outward curves for everything will result in a blobby impression, making the mass feel more like a flat sticker being pasted on top of the drawing.

Here's what I've explained in action. It can also be applied just as well on our animal's legs - it seems you haven't really been pushing the basic sausage structures beyond that simple state, so be sure to pay more attention to the subtler elements of your legs once the basic structure is in place.

Also, as a side note, here's a diagram that explains one approach that can be useful for building up your animals' feet.

The last thing I wanted to talk about is head construction. Lesson 5 has a lot of different strategies for constructing heads, between the various demos - and I can see that you've applied elements from quite a few of them. 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.

While I feel asking for a full redo would likely be the right course of action here - both to ensure that you're given an opportunity to apply the feedback provided previously to its fullest extent and to highlight how important it is that you do this in the first place (and to do so is part of the fairly limited set of responsibilities students have in this course), I am not going to ask for that. I'll instead assign some more limited revisions below, as the quality of your work is aside from that significant issue, showing promise.

When doing these revisions, I want you to note on the page the date of each session you spent on it, along with a rough estimate of how much time each session was given.