Starting with your organic intersections, nice work getting them to pile upon one another in a believable fashion - just don't forget that they cast shadows on the ground plane too. Doesn't look quite right when you have a more selective approach to what does and doesn't cast a shadow.

Continuing onto your animal constructions, I'm at a bit of a loss as to where to start with this. Your drawings aren't bad - in fact, a lot of them are quite good - but the real issue is that their application of the concepts from the lesson are kinda scattered. There are a lot of areas where you'll use the techniques as a starting point and then draw the rest more from observation (you do this a lot with your head constructions in general, and we'll talk more about that later, but this one is probably the biggest example of tossing out a lot of the 3D/form/construction focused approach that Drawabox pushes, in favour of just drawing what you see. In the process, you end up being very fast and loose with the points I raised in my critique of your Lesson 4 work - especially the concept of actions taken that occur in 3D space versus those that occur in 2D. That is, where in my last critique I stressed the importance of how we build up our constructions, not by altering the silhouettes of forms we'd already constructed or building up with individual lines and overly complex shapes - but by building up one form at a time, with forms whose complexity is limited only to that which is required to establish a believable relationship with the existing structure.

Needless to say in the drawing I just linked, you drew the entirety of the body from the neck down as a single complex shape loosely fitting around a vague framework.

That said, you hold a little better to the constructional concepts in other drawings, at least to varying extents. There's definitely more construction in this horse for example, but as I've shown here you're working in 2D a ton of the time, with each of the areas I marked out in purple being the result of a one-off stroke attached to an existing structure to expand its silhouette out, but with no clear way for us to understand how this exists in 3D space, and how it actually attaches to a 3D structure.

Now, you're definitely getting a full redo for this lesson, as you've completely deviated from the approaches shown in the lesson, and from what this course has taught in previous ones/previous feedback. You're very clearly good at observing, and you have skill and experience in drawing as well, but you need to keep in mind that what we're doing here is not merely drawing animals. The fact that they're animals doesn't even matter. These drawings - each of them - are exercises. They're spatial reasoning puzzles that forces us to think through how different forms fit together in 3D space, and in so doing, flesh out our brain's internal model of 3D space.

I will however call out a few additional things that will help you have more success in your next attempt.

• You're pretty regularly drawing the ribcage way too small. It needs to be roughly half the length of the torso as explained here.

• You also need to be drawing through each of your freehanded ellipses two full times before lifting your pen, as discussed back in Lesson 1.

• Remember that the sausage method which should be used for all of our leg constructions (in all of its parts, from using sausage forms for each segment, and defining the joint between them with a contour line) is about establishing a base structure for the leg - but not specifically the bones. I'm seeing a lot of places where you draw especially narrow sausages, then envelope them in further shapes afterwards, as though the sausages represent the skeletal structure. Rather, you draw those sausages as thick as you can whilst maintaining the characteristics of simple sausages, picking their size based on what you can see. Then for any other protrusions, you build upon them with additional masses. I provided additional demonstrations/diagrams of this in your Lesson 4 critique so you should go back and take a look at those.

Lastly, about the head constructions - Lesson 5 has a lot of different strategies for constructing heads, between the various demos. Given how the course has developed, and how I'm finding new, more effective ways for students to tackle certain problems. So not all the approaches shown are equal, but they do have their uses. As it stands, as explained at the top of the tiger demo page (here), the current approach that is the most generally useful, as well as the most meaningful in terms of these drawings all being exercises in spatial reasoning, is what you'll find here on the informal demos page.

There are a few key points to this approach:

• The specific shape of the eyesockets - the specific pentagonal shape allows for a nice wedge in which the muzzle can fit in between the sockets, as well as a flat edge across which we can lay the forehead area.

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

• We have to be mindful of how the marks we make are cuts along the curving surface of the cranial ball - working in individual strokes like this (rather than, say, drawing the eyesocket with an ellipse) helps a lot in reinforcing this idea of engaging with a 3D structure.

Try your best to employ this method when doing constructional drawing exercises using animals in the future, as closely as you can. Sometimes it seems like it's not a good fit for certain heads, but with a bit of finagling it can still apply pretty well. To demonstrate this for another student, I found the most banana-headed rhinoceros I could, and threw together this demo.

So, as mentioned previously, you're going to have to redo this lesson in its entirety, and when you're done, submit it as a fresh submission which will cost you another 2 credits. I imagine you'll no doubt find this discouraging. The best way to look at this is that you took a wrong turn, you got too enthusiastic about the subject matter (as others have done before you - animals seem to have that effect on people), and as a result you lost track of what the focus was. It's fine, it happens. You'll do better next time, and I can clearly see that you have it in you to do far better. I can see the skills present already, but what you need to show me is that you understand how to apply the exercises so that going forward, you can continue to develop your existing spatial reasoning skills further on your own.