Starting with organic intersections, there are some places moving in the right direction although it also leaves something to be desired in other ways. Generally speaking, you're doing a good job with drawing out the basic sausage forms with fairly confident lines. With that said, I am noticing a number of ways where you're straying from the path:

• First off, you're starting with a large sausage form, then stacking smaller ones on top. This could lead to some awkward problems that aren't particularly beneficial later on. Drawing smaller has its downsides, it can limit our brain's ability to solve spatial problems and with engaging our whole arm while drawing. Both of these make the drawing process clumsier and impede what we get out of it. Try to keep them all roughly the same size to one another from now on.

• There's this sausage pile here which feel like they're about to collapse from their own weight. Keep in mind when doing the exercise, these should be drawn in their final resting place, stacking each form on top of one another and taking gravity into consideration.

• Each ellipse should be aligned to your spine line as its minor axis - or in the case that it wasn't centered properly, where that spine line ought to have been. You want it to cut each ellipse into two equal, symmetrical halves down its narrower dimension.

• You're breaking the silhouette of your shadow shapes and the shapes themselves aren't filled all the way in, leaving a few patches of white here and there as shown here.

Moving onto your animal constructions, I'm not seeing any instances where you're cutting into your forms and that's a step in the right direction. However, I am seeing cases where you're adding partial shapes or one off lines here. Thus, it reminds us that we're drawing something flat and two dimensional and reinforces that idea to you as you construct it.

Continuing onto additional masses, I think the biggest problem is that it appears that you're being very risk averse in the way you're approaching these. You're making attempts to avoid them as much as possible and opting for single masses that take on too much and run the risk of them becoming too complex.

With that said, there are definitely places where you're approaching these a little more timidly and still struggling with the intentional design of these silhouettes. You can see that in the random corners and hot dogs in a bun behind the shoulders and under the torso area here - instead, look for opportunities to push these masses into other forms to make the construction feel more grounded and give us clear places to use inward curves and sharp edges.

When it comes down to it, the way the silhouette is actually designed matters alot. It helps to think about how this mass would exist on its own in the void of empty space. Think about a ball of clay existing on its own.

Then as it presses against an existing structure the silhouette of this form gets more complex, inward curves forming where it makes contact. The silhouette is never random of course, always responding to the form that's present as shown in this diagram.

The other point I want to make has to do with the usage of contour lines. Try not to make it a habit of placing them wherever you please. We need to think what the mark is meant to accomplish with each and every mark we make and if there are any other other marks already accomplishing the same task. Piling a ton of them isn't actually beneficial-they suffer from diminishing returns, so you're not really getting much out of them. You shouldn't force the additional masses into the third dimenion that way, instead you should be doing that with the inward curves mentioned above.

When it comes to leg construction, you seem to be employing different strategies for the legs. While not uncommon for students to be conscious about the characteristics of the sausage method, but instead they decide not to adhere to them because the legs they're looking at don't actually look like a chain of sausages. The sausage method as a base structure allows us to capture the solidity with the gestural nature of legs. Once in place, we can lay in additional masses as shown in this ant's leg and this dog's leg.

When drawing feet - whether paws or hooves it helps to be mindful of where we place our corners in those silhouettes. There are many cases such as the way you approached this, where the feet are drawn flatly or blob-like with very little specificity of where the planes are. Corners can be used to imply the presence of different faces and generally to make these structures feel more three dimensional, like the front and side of a hoof. I do think following the approach shown here from another student's work would help you understand what I mean.

Onto the topic of head construction, Lesson 5 has a ton of different strategies in the informal demos section. Given how the course is developing new more effective ways to construct heads so not all approaches are created equal. As it stands, this tiger demo and this demo from the informal demos is what's generally most useful. This approach relies on a few key elements:

• the the specific pentagonal shape found in the eye sockets, which allows for a nice wedge in which to place the muzzle into as well as the flat area found in the forehead

• this focuses heavily on everything fitting together- no arbitrary gaps or floating elements. This allows all the different pieces to feel grounded against one another like a three dimensional puzzle

• we also have to be mindful as to how all the marks carve along the surface of this cranial ball, working on the individual strokes instead of using an ellipse for the eye socket

There are a few elements of this approach in your work but still need to see it applied more directly. For example on this bird you drew, you've laid out the basic cranial masses and muzzle forms but haven't done much more than that. The trick comes down to making a series of smaller moves rather than a few big ones that try to tackle everything at once as shown in this pigeon head. So make sure to take a closer look into the informal demos section and try your best to follow this approach as closely as you can. It might seem like sometimes its not the best fit for certain heads but with a bit of workaround, it can be done.

Another point of advice that may help a great deal is to draw the eyelids as their own separate additional masses, wrapping around the eyeball structure as shown here. There are a few places where the eyes get a little messy which is partially unavoidable when things get really cramped, but you also have a tendency to draw those eyeballs smaller than you should. Remember that the visible portion of the eye we see between the lids is only a section of the larger eyeball structure so be generous with how you draw it.

As a whole, there are many things to keep in mind and many of those things could've been avoided if you had given the drawings the time they require. If it takes multiple sittings for you to do these animal contructions to the best of your ability, then that's what you should be doing. So I'll be assigning 1 page of organic instersections and 4 pages of animal construcions. So try and spend at least 1 day for each drawing keeping in mind everything mentioned above and feel free to ask questions if you have any.