As far as the grinding goes, you shouldn't give into the feeling that your work somehow isn't good enough to submit just yet (since these critiques really just exist as a way for me to help you along, and if you're holding back like that, it's not really using them to their fullest extent). That said, since your work actually came out quite well overall, we'll overlook it and it'll be our little secret.

Starting with your organic intersections, these are looking quite good. You're doing a good job of wrapping these forms around one another in a believable fashion, creating a strong illusion of gravity in how they slump over one another, and the cast shadows they're projecting onto one anothers' surfaces helps push this illusion farther. That said, don't forget that shadows should also be cast upon the ground.

Now, as I said, your work here is for the mst part really well done. You're demonstrating an exceptional grasp of the material, and I am extremely pleased to see how you're hammering down the relationships between the different forms, the intersections and how they connect to one another, and so on. To start, the birds are an excellent example, and it really shows that you took your time with these - not necessarily just in drawing more than you needed to, but also in really focusing on doing as much as you could with every mark. That is one of the downsides to grinding in most situations - when we do it, we tend to focus more on quantity, and perhaps don't invest as much time into the quality of each individual drawing. That is not what we see here - you've done a great job, and you've clearly worked hard.

Moving into your wolves, you're showing pretty solid use of the sausage forms for constructing the legs, as well as the use of the additional masses, wrapping around the creatures' bodies. Admittedly with some of those additional masses you didn't really need to add those additional contour lines - be sure to always consider how a particular mark is meant to contribute to a drawing, and think about whether it is really necessary before drawing it. Sometimes when it comes to contour lines, we're prone to drawing them because we feel we're supposed to - but when we do a good job of establishing the relationships between those forms (specifically how the additional masses wrap around one another), they do enough to sell these as three dimensional forms on their own. And even if we don't, in the case of these additional masses, adding a contour line may make the individual form feel more 3D, but it will only do so in isolation - not quite establishing how it relates to the others.

Looking at your head studies, I can clearly see that you're thinking about how the head can be built out as a sort of 3D puzzle, with pieces that all fit against one another. This is precisely the approach I want to see students take, and while I think you could really push the importance of the eyesockets further, and placing a larger eyeball form within it before wrapping the eyelids around it as seen in this tapir head construction demo, you're definitely moving in the right direction here.

I do admittedly feel that while you're not erratic or random with your fur textures, there are certainly places where you're perhaps leaning more on quantity rather than the quality of each tuft's specific, intentional design. As you can see here, I purposely think about how each tuft is going to differ from its neighbours, and how it's going to stand on its own. A few good tufts will do the job of a dozen shoddy ones, leaving you with cleaner overall silhouettes, and a clearer overall visual communication with the viewer.

Scooting down to your bears, I did notice that here you tended to kind of "plop" some of your additional masses on top of the bear's body. You handled this better in some of your wolf drawings, and as shown here that additional mass needs to wrap around the body and really "grip it". It's also worth mentioning that the top, where there's no other forms pressing down upon it, the curvature of the form should be simple. I get into more detail about convex/concave curvature for these forms here, but to keep it simple there will only be more complex concave curves to the forms where they're actually pressing up against something else.

In the image where I drew on top of your bear, I also drew a little over one of tis paws - here I tried to convey how specifically crafting the silhouette of those paws in such a way that there are implied planes (top, front, side, etc.) will help you create paws with a greater sense of form without necessarily overburdening it with internal detail.

This issue with those additional masses needing to wrap more purposefully around the various parts of the torso is present throughout the rest of the animal constructions, although in varying degrees.

One last point I wanted to offer is in regards to the complexity we can achieve with our animal's legs. You're employing the sausage method quite nicely, but perhaps not pushing it to its furthest extent. As shown here, using the additional masses, we can actually really explore all the complexity of an animal's leg once that sausage structure is in place. Don't be afraid to push that even farther, especially along the joints (although it's worth mentioning you do this to varying extents in some cases, like in this saiga antelope though you aren't necessarily thinking about how those forms are going to 'wrap' around the sausage structure - you can see this demonstrated in this diagram as well).

Now, all in all I still think you're doing a great job, and there are a lot of very strong drawings here. All the same, there are definitely areas where you can improve with continued practice. I believe you are entirely prepared to do that on your own, however, so I will go ahead and mark this lesson as complete.