Starting with your organic intersections, these are coming along reasonably well. Some of your contour curves are a bit shallow (specifically where you aren't overshooting them, which is primarily focused on the second page, so be sure to keep on top of that), but all in all you're drawing these forms such that they define clearly how they interact with one another in three dimensions.

Moving onto your animal constructions, there are indeed a number of problems, and I think they largely come from you having trouble with keeping all of the different instructions in mind simultaneously, so you tend to forget a great many things. Furthermore, in trying to keep all the various instructions straight in your head, I think it's clear that your observational skills fall by the wayside, resulting in you working more from memory and oversimplifying the forms you're drawing and the relationships between them. Let's go through a number of individual issues one by one.

The first issue I want to talk about has to do with the major masses you're laying out. As explained here, the ribcage mass should occupy half of the torso length, but you consistently draw it as being much smaller. That's a relatively simple problem that is just one of those things you've allowed to slip through the cracks.

Secondly, while you're clearly making an attempt to follow the sausage method to construct your legs, you're making a few distinct mistakes:

• You're not drawing sausage forms in many of these cases, you're drawing stretched ellipses - yours tend to get wider through their midsection, rather than adhering to the whole "two equally sized spheres connected by a tube of consistent width". Along with widening through their midsections, yours also tend to have ends that are much more stretched out, which makes it difficult to actually have them feel like they connect to one another as solid, 3D forms. Having circular/spherical ends helps a great deal with this.

• You vastly overuse contour lines - something I'll touch upon again in a second. In the instructions for the sausage method, I clearly state that you should not be adding any contour lines aside from those that define the connection between segments right at the joints.

So, you pretty regularly pile on contour lines. This isn't an uncommon issue, and it usually occurs when a student is deeply uncertain as to what they should be doing - and so they fall back on the idea that "well I have to make sure my forms feel 3D" and go to the primary technique they've learned to accomplish that: adding contour lines. Contour lines unfortunately suffer from diminishing returns - the first one you draw may have a significant impact, but the second will have considerably less, and the third even less so. Piling them on like this doesn't actually yield any benefit, and when you do draw them, it's important that you do so purposefully, focusing on getting the contour curves to fit snugly within the silhouette of the form (not spilling out of it and not floating aimlessly inside of it), and making sure it wraps around the form believably.

There are also different kinds of contour lines - specifically, the ones that define the relationship between two forms (like those we place at the joint between sausages) are VASTLY more effective than those we place along the surface of a single form. This is because of how they define the relationship between different forms, integrating them into a more complex object rather than just defining how they exist independently.

Long story short, contour lines should not be treated as your "I don't know what to do so I'm going to fall back on this" technique. Every single mark you draw should serve a purpose, and if you feel confused and lost, take a step back and look at the demonstrations - of which there are many, including the informal demos - to help you identify where in the process you are, and what would be the next logical step. Don't just try and wade out there on your own and figure things out yourself based on what you remember.

The last major issue I want to address for now is how you're approaching the 'additional forms'. Right now, you're not actually drawing those additional forms in a way that demonstrates how they wrap around the underlying, existing structure. You're basically just pasting a new form into the world, focusing on making it feel 3D, but not actually getting it to fit into the construction, not defining any relationships between it and everything else that exists in the scene. Basically this results in that additional form floating more arbitrarily in space. As shown here, additional forms should be drawn in such a way that their silhouettes - the shapes you draw initially - should actually attempt to wrap around the existing, underlying structure. It needs to actually curve around it as though it is resting against those surfaces, similarly to how we handle the organic intersections exercise.

So, to summarize, you're running into a number of key problems:

• You're dealing with a lot of problems simultaneously, and that causes you to get overwhelmed, and panic. You rely on what you remember (both in terms of process and in terms of what your reference looks like), which causes you to take wholly incorrect steps, and to oversimplify your construction and draw things not as they are, but as you think them to be. What you need to focus on is controlling your choices and decisions. Don't blindly react to your panic - take a step back, review the demonstrations, and so on. Also, make sure you continue to develop the habit of studying your reference constantly, looking away from it only long enough to put down a specific form before looking back at it.

• You've slipped with the sausage method - you're drawing stretched ellipses, not simple sausages.

• You're overusing contour lines (again, part of you responding badly to being overwhelmed).

• When drawing additional forms, you need to think about how the form you're drawing actually wraps around the underlying structure as you're drawing - this is not a problem you can solve with contour lines after you've drawn it. It needs to be determined through the silhouette of the form.

There are other issues - for example, when constructing heads you don't adhere to any of the processes laid out in the lesson - but we'll get into that stuff later.

As a side note, your linework is in some places a little sketchy, and repetitive, so always remember to go back to the ghosting method to plan and prepare before every stroke. The planning phase gives you the opportunity to assess whether the mark you want to draw is actually contributing something to the drawing, and specifically to understand what the task it is meant to perform is. Only draw through your ellipses - not your sausages. Basically drawing through is beneficial for drawing ellipses for the same reason that it's harmful to sausages - it leans really well into drawing those kinds of elliptical shapes, so when you apply it to your sausages it's naturally going to turn them more into ellipses.

Lastly - for now, don't worry about texture/detail. Focus purely on construction. I'm glad that you did this for the majority of your drawings here, but there were a few where it definitely ended up distracting you.