Starting with the organic intersections, for the most part these are well done. They're solid, you're demonstrating a good sense of how they weigh atop one another, but I want to correct one thing. Based on what I'm seeing, it looks like you probably started with the bigger sausage form on each page, and then snuck another one underneath it and played with the cast shadows to make it work. The problem with this is that in both cases, the actual volume of that bigger sausage doesn't get moved around - it just gets cut into. In this exercise we want to make sure that the sausage's volume remains consistent, and that it generally doesn't move around too much, kind of like a very full waterballoon.

In general for this exercise, always stack sausages on top of the existing pile, never below. Think of it as though your're actually interacting with the pile physically - you wouldn't ever be able to sneak one underneath in reality, after all.

Moving onto the animal constructions, there is a lot of good here, and a lot of interesting use of additional masses to build up your constructions, but there are also some mistakes that I want to point out. The first one that jumps out at me is in the baby rhino.

Take a look at this. That little red area, which I labelled, was initially part of the larger sausage you constructed for your rhino's torso. When creating the sort of "dip" near the pelvis, you basically cut across the silhouette of that torso. That is a big no-no.

It's a problem because the silhouette itself is a 2D projection of the 3D form. It's like when you're in the forest, and you see the footprint some animal has left behind in the mud. From that footprint you can tell all kinds of information about the animal - what it was, how big it was, how fast it was moving - but if you try to modify that footprint, you're not going to change the animal that left it. You're just going to make the footprint a lot less useful.

If we want to change the nature of the form, we have to do so in 3 dimensions. Meaning that we can't act on the silhouette of the form, cutting across it with a simple line on the page - we have to actually split our form into two separate 3D forms using a contour line running along its surface, then decide to label one of these sections as negative space and the other as positive space. It's kind of like fabricating our own intersection (think back to the lesson 2 form intersections), except on a single continuous form. You can read more about this in these notes, but as mentioned there, it's something we do more often with geometric construction rather than organic. When working with organic stuff, we'd usually just wrap around an additional mass to account for the larger area towards the front, rather than cutting back on the area in the back.

Moving forward, while it's unfortunate that your somali wild ass got cut off as it did, I did want to commend you on the way you deal with those front legs. They ended up coming out feeling quite solid, and most of those additional masses did wrap around the underlying sausage structure quite nicely.

Looking at your head constructions, there's a lot of good that you're doing here, but you definitely somewhat deviate from some of the core techniques I'd employ. Specifically, before worrying about any of the more complex aspects of the head, I always focus on nailing down the sort of "puzzle" we get around the eye socket. That is, if we look at this tapir head demo, what I ended up doing was defining how the eye socket existed as a big chunk, and then buttressed the muzzle up against it. You can also see how in this moose head demo I fully surrounded the eyesocket, not just buttressing it with the muzzle but also the brow ridge and the cheekbone. In your malayan tapir on the other hand, while the head construction was generally okay and I really liked how you handled the front... trunk/nose/thing, I did feel like the eye ended up floating a little more arbitrarily. We see a similar issue with the mouse deer, and some of the others - I don't want that eye socket floating loosely. I want it firmly grounded in the rest of the head, creating a sort of puzzle with pieces that all fit very nicely with one another.

Also make sure you construct the eyeball itself within the eye socket, and then wrap the eyelids around it. You do this some of the time, but not often.

All in all, I do think that you are for the most part demonstrating a pretty good grasp of construction as a whole, despite that one sacrilege with the rhino. As a whole I am definitely confident in your understanding of how forms can interact with one another, so I am going to go ahead and mark this lesson as complete. Just know that there is room for improvement, and applying what I've laid out here in your own practice should help you continue to grow.