Starting with your organic intersections, you're doing a good job of establishing how these slump and sag over one another under the weight of gravity. You're also making good progress with your use of cast shadows, although when it comes to those cast shadows that fall along the ground plane, you are a little bit timid, and you even left the shadow cast by the horizontal sausage on the second page out entirely.

Continuing onto your animal constructions, I can definitely see your grasp of the material developing and improving as you push through the set. At the same time, however, I can see a number of issues that arise that I will be pointing out, in order to keep you on track.

To start, a relatively simple piece of advice - try to avoid drawing small. Sometimes students will decide ahead of time that they want to fit X drawings on a page, and sometimes students just feel self-conscious and end up avoiding taking full advantage of the space that is available to them. Regardless of the reason, doing so can really impede your brain's capacity to think through spatial problems, while also making it harder to engage your whole arm while drawing. Always start on a fresh page by giving whatever you're drawing as much room as it needs, and only when you're done, should you look at how much space you have left. If you can fit another drawing in the space that remains, great - you should definitely do so. If there is not enough room however, then it's perfectly okay to just have one drawing on that sheet of paper.

I do believe that was a substantial factor here. Your approach to construction is actually coming along really nicely in a lot of cases, but there are certain areas of clumsiness across your work that I feel are only occurring because you're not giving yourself enough room to work.

Secondly, remember the rule that everything you introduce to your constructions should be its own individual, enclosed, complete form that holds up even when removed from the rest of the existing structure. For the most part, you have adhered to this, but there are definitely some areas where you deviated. On the main construction on this page, we can see you adjusting the silhouette of the torso along its back to add a bump to it - but that bump is just a line, there's no actual form you're attaching to the torso. You also cut back into the silhouette of the muzzle to make it smaller - your approach here wasn't too bad (you were clearly trying to think about how it would exist in 3D space), but you'll note that in my critique of your lesson 4 work, I did state that cutting back in to the silhouette should be avoided for organic construction. We'll get to play with that approach when we get into more geometric constructions where the rules are a lot more strict and clear, but here try to focus on working additively only. If that means you're stuck with a larger muzzle, then that's fine.

Stepping back to the examples of partial shapes/forms, we also see plenty of those in these rhinos. It shows that you're not fully conscious of the rules you should be adhering to, and are allowing yourself to take certain shortcuts. The rules I shared with you in the last critique are important.

Furthermore, we see more of it in this rhino, where the bumps along the rhino's back were drawn by simply adding circles and bridging the gaps between them and the existing structure. These are really just flat shapes - everything you add to your construction needs to be a 3D form, and you need to define how it relates to or intersects with the existing structure. You also can't be cutting back into the silhouette of the head (number 22) as you did along its lower jaw.

So, going back to the additional masses, I can see that you're attempting to use them more correctly in certain cases - like the wolves on this page - but there are other cases where you're kind of using them correctly, but are cutting off their silhouettes (like on this dog's back). All in all, you need to be much more mindful of how you work with these forms. You clearly have a good sense of how they can wrap around their existing structures, and how to design those silhouettes, but you're still too prone to taking shortcuts and doing things in half measures.

Moving forward, the last thing I wanted to call out was how you approach leg construction. Your approaches vary a fair bit. Sometimes you attempt to use the sausage method correctly (like on this rhino's front leg), and sometimes you end up using it incorrectly (like on this deer's legs where you were using ellipses rather than proper sausage forms, or on your hybrid where you neglected to define the joint between the segments with contour lines). I also recommend you review the notes and diagrams I shared with you when talking about leg construction in my critique of your lesson 4 work. There I showed how you can approach building upon your sausage structures to help capture more of the nuance and complexity of the leg structures, while respecting the additive approach to construction, and the three dimensional nature of every element that is added.

The last thing I wanted to talk about is head construction. For the most part, you've done this pretty well. You're considering the relationships between the eye sockets and the muzzle, fitting them together like pieces of a 3D puzzle. The only notable situation where you have the eye sockets floating freely is in your hybrid, where it just seems like the nature of the task caused you to forget some of the approaches you were otherwise aware of.

In the future though, I do encourage you to go a bit beyond the eye sockets and muzzles, and think about the brow ridge and cheeks as separate elements to be constructed, as shown in this informal demo.

Also, since you were having some trouble trying to figure out how to tackle the rhino head construction, I do have a demo on that which I can share.

Finally, instead of drawing the iconic 'eye' symbol when trying to put in the lids, try drawing a larger eyeball form, and then drawing each lid as its own separate additional mass as shown here. This will help you get a better sense of how the eyeball itself is a ball form, and how the eyelids wrap around it.

Now, I do think that there are enough issues to be addressed here that I'd like you to complete some revisions, which you'll find assigned below. I am also a little concerned with how rapidly you're submitting your work. While I understand that you've got time off and lots of time to draw, I do hope you're still following the 50% rule instead of just throwing all of your time at completing this course.