I can definitely see that your organic intersections have certainly improved since Lesson 2 - but I think what's most important is the improvement between the two pages you've submitted here. The first page was somewhat directionless and uncertain, and a number of the forms ended up way more complex than they should be, detracting from the illusion of their solidity. The second page however is much more confident, and your overall intent is much clearer from the beginning, resulting in a more solid, believable stack of forms that more convincingly establishes the manner in which these forms slump and sag over one another under the force of gravity.

That said, I did see this form whose silhouette was similarly made very complex, and sacrificed its solidity as a result. Try to treat the sausages here as being filled waterballoons - so they're not going to squeeze into every crevasse beneath them, but rather will bridge across from one form to another, leaving a gap beneath if it is properly supported. Another point that I think helped you achieve better results on the second page was that your forms were more consistent in size, where in the first page you had one big "mothership" and a bunch of smaller ones. Try to keep them all roughly the same size, as shown in the instructions for this exercise.

Moving onto your animal constructions, I think you've done a great job here. It is very clear to me that you've put a lot of thought into how each and every form attaches to the existing structure, and how they each become a part of that structure. You've designed the silhouettes of each new mass to really integrate them in a solid fashion, but whilst allowing each such form to introduce its own properties - its own thickness and volume - to the consturction.

While I do have a few thoughts to offer, as a whole I think you've progressed a great deal over the set, and that you're headed in the right direction.

The first point I wanted to call out simply has to do with the use of contour lines - I think you've got a lot here that don't really serve a purpose. You mentioned yourself that you aborted certain approaches - and while I have thoughts on that (to put it simply, once a mark is down on the page, you've committed and need to see it through, even if it'll cause you to end up with a weaker construction, since these are exercises after all and not performances), but I don't think these contour lines fall into that category.

Instead, I think you may simply be relying on that tool a little too liberally, without necessarily weighing what every such mark is meant to contribute to the construction. For every mark, we employ the ghosting method, and that starts out with the planning phase. There, we assess exactly what kind of mark we wish to make, what its properties will be, and what purpose it is meant to serve. In determining what its job is meant to be, we can ask ourselves how it can be drawn to best accomplish that task, and whether that task is already being accomplished by another mark (or if it's necessary at all).

Looking at the contour lines along this bunny's hears and neck masses, I don't feel like they really contributed much of anything to our understanding of how those structures sit in space, and the drawing would have been just as solid without them. You'll actually find that the majority of this kind of contour line (the ones that sit along the surface of a single form, as opposed to the ones that define the relationships/intersections between different forms) aren't actually that helpful. There are some cases where they can be valuable, but it's not that common. It just so happens that this way of introducing the tool is the most effective, but it has the downside that students lean a bit too heavily on them when they shouldn't.

The next point I wanted to raise is simply a matter of ensuring that you're always designing your additional masses in such a way that they really grip the underlying structure. I think you're doing a good job of this in a lot of areas, but there are enough that don't reflect a complete grasp of how one should be thinking about the design of these forms' silhouettes (as shown here).

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.

The last point I wanted to raise has to do with head construction. Looking at your work, it seems that you may have missed out on one of the most important explanations available in the course material. Since this course is constantly evolving as I learn more about how to better explain the material (by doing hundreds upon hundreds of critiques), it's unfortunately not possible for me to immediately incorporate the newer approaches/explanations into the material as completely as I'd like. The videos, for example, take far more time to update than the text material. Instead, they get added to the "informal demos" page until they can be incorporated more fully into the course proper.

This is actually mentioned in the tiger head demo page - at the top, I explain that the most up-to-date explanation for how to approach head construction is available here. There I go over an approach that employs a specific shape for the eye sockets (an upturned pentagon that allows for the muzzle to be wedged in between the sockets, and for the brow ridge/forehead to be placed upon the flat surface along the top), stressing the importance of having all the pieces wedge together firmly, creating a solid, three dimensional puzzle.

You do adhere to several aspects of this, but your approach doesn't reflect the specific techniques demonstrated there, so I think you may have missed it. I recommend you read through that explanation, and try applying it more directly to your work. It'll help provide you with a repeatable, consistent recipe you can use, and should kick your head structures up a notch.

I did notice that when drawing your eyes, at some point through this set, you shifted from simply drawing an eye shape over a circle, to drawing actual masses individually, one for the upper lid and one for the lower lid. I'm quite pleased to see this, as I think it helps us to better understand how to wrap the lids over the eyeball. It's something I've been recommending to students more recently, as shown in this diagram.

So! With that, I think your work is really moving in the right direction, and you're making excellent progress. I'll go ahead and mark this lesson as complete, and leave you to apply what I've shared with you here on your own. Keep up the good work.