Starting with your organic intersections, these are pretty well done, in terms of establishing how these forms interact with one another in 3D space. My only recommendation here is to keep an eye on ensuring that the forms adhere to the characteristics of simple sausages from lesson 2.

Moving on, your work throughout this lesson is by and large actually very well done, and you've demonstrated a pretty well developing grasp of how to combine simple forms to create more complex objects. You've also demonstrated a pretty strong grasp of how to leverage those additional masses to build up your constructions, along with a willingness to use them beyond the explicit demonstrations in the lessons, but rather as a tool with which you can do whatever you like.

One thing right off the bat I do want to point out actually comes up in the birds. It's a minor issue, but still worth mentioning. I noticed in a few places the line weight along the silhouette of some of your forms seems to get a lot heavier and darker without any actual explanation as to why you might have chosen to do that. Usually this suggests that it was not a choice - that instead perhaps you made a little mistake, maybe a line fell out of line, and perhaps you felt the best way to hide it was to draw the correct line and then fill in the space between them with black.

As a rule, don't correct your mistakes - the reason this strategy is not a great one is because it takes the tool of line weight and it surrenders it to the whims of our mistakes. If we end up using line weight to hide mistakes, we end up creating unintentional focal areas that draw the viewer's attention, but for no actual reason. It's often best to just let your little mistakes sit as they are. They are more likely to go unnoticed this way.

Moving through your drawings, not all of them are especially well done, but there are elements in them that deeply interest me. For example, looking at this walking tiger, what stands out to me is the fact that you've got very few contour lines. This is entirely correct, and I'm pleased to see it. It's notable because most students will feel like contour lines are a cure-all for any situation where they're afraid their forms feel too flat, and they'll pile them on without thinking about whether they're actually contributing at all. You however appear to think about how each mark you draw will contribute to the drawing - you're taking the time to decide whether it's worth making a mark or not. That is precisely what I like to see.

Now, there are certainly some issues with this drawing that don't make it quite too successful:

• The ribcage is fairly small - remember to make it roughly 1/2 the length of the torso sausage.

• The additional mass along its chest doesn't really wrap around the torso sausage all that much.

• The contour lines on the joints of the legs don't appear to be drawn with much care or accuracy - they need to wrap around the surfaces of both forms in order to properly define their relationship/intersection

That said, I am quite pleased with the head construction - you've done a great job of fitting the various components together to feel like a 3D puzzle.

As you continue to progress through the lesson, I can see you pushing your boundaries further and further with the use of these additional forms. The camels are especially interesting experiments, but they have a few issues of their own. I marked out a number of issues right on the drawing. In addition to this, these notes on the use of the additional masses should help. I noticed that while both earlier on in the lesson and later on you did a much better job of understanding how to leverage these additional masses, when you got into the particularly difficult challenges of the camels, you fell back into treating them as flat shapes rather than actually thinking about how they're 3D forms being piled upon one another.

I also noticed that for the camels, you broke away from the use of the sausage method. You employed parts of it, but it is important that you first build up a base structure as shown here. Once in place, we can then build on top of this base structure with more additional forms as shown here, here, in this ant's leg, and here in the context of a dog's leg. The key is that it all starts from the same simple sausage structure that has not been changed.

The last point I did want to mention was that when drawing the contour lines to define the joint between your sausages, you pretty consistently seem to draw them without thinking about what degree they should be drawn with. Remember that the degree of the contour line tells us the orientation of the cross-section you're defining. Most of these legs we're drawing - like those of the camel - are running straight up and down relative to our point of view. Therefore the degree of the contour line we use to reinforce the joint is going to be very narrow, since that cross-section is mostly pointing up/down, rather than towards the viewer.

Despite the stumbling with the camel experiments, I do think that overall you are demonstrating a pretty strong grasp of the material in this lesson. The only issue that comes up consistently across all your constructions is the incorrect degree being used in those joint contour lines (we see it in this otherwise solid drawing of a pudu as well, and on several others).

As such, I am going to mark this lesson as complete. There is lots of room for growth to be sure, but that will come with continued practice. Just make sure you give yourself lots of time to think about how that contour line needs to be drawn in order to properly represent the connection between sausage forms.