Starting with your organic intersections, your work here is really well done. The arrangement of the forms, in particular the manner in which they slump and sag over one another establishes a strong sense of how they all exist under the same forces of gravity, and helps to create the impression of solidity and stability between them.

Continuing onto your animal constructions, overall your work here is fairly well done, and as a whole you're demonstrating a good grasp of the spatial relationships between the different forms that come together to create each solid construction. That said, I do have a number of points to call out to help you continue to get the most out of these exercises. They'll fall under the following categories:

• Basic construction

• Use of line weight

• Use of additional masses

• Leg construction

• Head construction

Getting started with the basic construction, I did notice that across a number of your constructions, albeit to varying degrees, there was definitely some deviation in how you laid out the initial ribcage and pelvic masses. As explained here, the ribcage occupies one half of the torso length, with the pelvis occupying the last quarter. This leaves another quarter in between them. This cow was the furthest off the mark, with the ribcage being drawn quite short - in other cases it's a bit less dire, although there are definitely a few others where your ribcages aren't quite reaching the halfway point, leaving a much larger gap between it and the pelvis.

Another point I quickly want to call out is that here on this wolf, you appear to have cut into the silhouette of the torso sausage (which I mentioned in my critique of your Lesson 4 work as something to avoid).

Continuing onto the use of line weight, this is also an issue that is present to varying degrees (and again, the same cow happens to have the worst of it). The issue is that you appear to be going back over your lines quite liberally, adding thickness to them without a specific purpose or goal to the use of that tool. This can lead to a lot of arbitrary choices being made without an express reason for it, and when it comes to line weight, its overuse can definitely result in the forms on the page flattening out more into graphic shapes. For the kind of work we're doing in this course, and the kind of limitations/restrictions imposed on us here, it's generally best to focus line weight towards clarifying the manner in which different forms overlap one another, limiting its use to the localized areas where those overlaps occur. You can read more about this here.

One thing to avoid in particular is line weight that jumps from one form to another. This can lead to us accidentally enclosing little partial shapes when we "bridge" across from one form's silhouette to the next, which as discussed in my critique of your Lesson 4 work should be avoided in favour of having every new addition be its own complete, self-enclosed form.

Moving onto the additional masses, I do have a few points of advice to offer on this front. Firstly, the additional masses rely completely on the way in which their silhouettes are designed. We can sometimes feel inclined to add contour lines to them (and I even do this in the intro video), but I've found more recently that this is not particularly useful (in that they only help to make a form feel more solid and 3D on its own, in isolation, and does nothing to establish its relationship with the existing structure), but moreover it can actually make us feel like we can correct a misshapen silhouette, and thus encourage us to spend less time on the silhouette design in the first place.

When it comes to designing the silhouettes, one thing that helps with the shape 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.

You can see this in action here on this wolf. I've changed up the arrangement of the masses towards the front, mainly to demonstrate how we can build up several masses together, piling one atop the other, in situations where a feature may be too complex to achieve with a single mass. Also, note that I'm bringing those masses down along the side to press them up against the hip and shoulder masses. Increasing the amount of contact our mass makes with other parts of the structure helps to make the structure as a whole feel more grounded and solid.

On the topic of leg construction, this one's mostly going to be a reminder to use the sausage method in its entirety as discussed in my critique of your Lesson 4 work. Sometimes you use it partially (but neglect to define the joints between the sausage segments with contour lines), and other times you change it up a bit more, but ultimately it seems like you overlooked that part of my previous critique, so I'll leave you to review it on your own.

While we're on the topic of legs, I do have some advice to offer when it comes to feet. As demonstrated here on another student's work, boxy forms - that is, forms whose silhouettes include strategically placed corners to help imply the internal edges that are present, separating the volume into distinct planes, but without needing to actually define those internal edges (and thus add to the clutter) - can help a great deal, both to build a base structure and to add toes on afterwards.

As to the last topic - head construction. 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.

Now, as a whole you've clearly demonstrated a strong capacity for working in 3D space, but you've also really sold yourself short by simply not reviewing my past feedback enough (or otherwise neglecting to do what you needed to keep that information fresh in your mind) so it could be applied here. Doing so no doubt would have yielded stronger results - but as it stands, between the feedback there and what I've offered here, you should have plenty to continue applying these exercises on your own to continue improving. So, I'll be marking this lesson as complete, and will leave it to you to put my feedback to use.