Starting with your organic intersections, you're doing a pretty good job here of establishing how these forms slump and sag over one another in 3D space. There are a couple things I want you to keep in mind though:

• Stick to the characteristics of simple sausages here. You are most of the time, but you've got a few cases where your forms get more wobbly, or where they totally deviate from that simple sausage form. Always think of each one as a filled water balloon - they'll bend, but they won't necessarily turn into a wobbly noodle. That's behaviour you'd see more from a balloon that was only partially full.

• On that first page, I can see that you seemed to add another sausage along the underside of the big one - always think of this exercise as adding to a pile one by one, and abiding by the rules of gravity. Don't add things under the pile, always work upwards.

Moving onto your animal constructions, I do feel that overall you're moving in the right direction, but there are a few key areas in which you sometimes deviate from the rules shared in this lesson, as well as in previous lessons and critiques.

The first of these is that in a lot of places, you're still jumping between working in both 3D (building up complete, enclosed forms and defining how they relate to one another in space) and in 2D (adding one-off lines or partial shapes that don't define their own separate complete forms). You can see examples of where you've worked in 2D on this horse. This is something I addressed back in my critique of your lesson 4 work, where we discussed the "rule" that you should not alter the silhouettes of forms once they've already been added to the construction.

To put it simply, if you jump back and forth between treating what you're creating as a solid, three dimensional construction that you're building up in a 3D world through the addition of new, separate 3D forms, and just drawing lines on a flat page, you will both remind the viewer and yourself that you're just drawing on a flat piece of paper. All of the nuanced decisions we make in a drawing that reinforce the illusion that we're producing something 3D come from the subconscious decisions we make as a result of our belief that we're sculpting and constructing something real. That's what we need to continually reinforce through all of our decisions.

So- when you add something new to your construction, make sure that you think about every addition as its own complete, new mass. Consider the way in which its silhouette is being designed so as to best establish a form that is actually physically making contact with the existing structure, and actually "gripping" onto it. You've done a good job of this in some cases (like the mass along this camel's back, underneath where you ultimately added the humps), but there are others that are not as successful. The humps themselves, for instance, feel like they're just set gently atop the structure, as though they could fall off at the slightest movement. Here's how I might approach them.

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.

Additionally, I noticed that you have a habit of dropping a lot of contour lines on your forms. This is something I often see when students aren't necessarily investing enough time into the planning phase of the ghosting method. It's in the planning phase that we ask ourselves what the goal of a given mark is meant to be, how to best achieve that goal in the manner in which it's executed, and also whether another mark is already accomplishing the same task. This kind of contour line - that is, the kind we introduced in the organic forms with contour lines exercise in lesson 2 - suffers quite a bit from diminishing returns, where the first is more impactful, the second is less so, and the third even less. While it's a great way to introduce the tool, if we don't think about why we're adding these lines and what they're for, we can easily slip into just mindlessly piling them on.

Moreover, if we tend to draw additional masses whose silhouettes aren't as well designed to establish that spatial relationship with the existing structure, we can end up trying to "fix" the mistake with more contour lines - but unfortunately they will only ever make the form itself feel 3D in isolation, not define its relationship with the rest of your structure.

In short, try to avoid using so many contour lines, and really ask yourself whether they're necessary for each one you wish to draw.

The other kind of contour line - the kind introduced in lesson 2's form intersections, are a different story. These are very effective and can't really be overused due to how there's only one valid intersection between any two simple forms. These are also vastly more effective, because like the design of an additional mass's silhouette, they allow us to define the relationship between any forms that intersect in space. They can't be used for additional masses (since they generally wrap around the existing structure, rather than intersecting with it. They can and should be used as part of the sausage method (as stressed in that linked diagram), which right now you appear to be forgetting in many cases.

There are just two more things I wanted to call out:

• When you use areas filled with solid black, make sure that they're used only to represent cast shadows. Ignore any local colour (like the fact that the panther's fur is black) and form shading (like in the horse's mane). Those filled black shapes should be drawn with a specific focus on the form whose shadow they represent. The cast shadow should directly imply the presence of a specific form.

• I can see you employing the head construction technique shared here in this informal demo to varying degrees. Sometimes you apply it more strictly, and sometimes it's a little more loosely. Push yourself to apply it more strictly in all cases. Also, instead of drawing your upper and lower lids as individual lines, try drawing them as their own additional masses as shown here.

While I do think you' are in many ways moving in the right direction, I do think I've shared enough here that it's worth having you do a few more to demonstrate your understanding of this critique. I also recommend that you go back and read over the feedback I shared on your Lesson 4 work, going over the specific diagrams there to better grasp how to build up additional masses along your leg structures.

More than anything, remember that how we approach our drawing will determine how much we really believe that what we're drawing is real and three dimensional. If we draw more loosely and allow pieces of the underlying structure to stick out of the eventual silhouette of our animal, then it will remind us that we're really just drawing on a flat piece of paper. Always treat everything you add to the drawing as though it defines something solid, real, and tangible, and interact with them as such as well.

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