Starting with your organic intersections, for the most part these are looking good, but I have a few things to call out:

• When you decide to have your forms cast shadows, it does become necessary to do so consistently - meaning they'll all cast shadows. On your first page, most notably you have no shadows being cast upon the ground plane (though this is fixed on the second page).

• Also, draw your cast shadows when you're done constructing your forms, so you avoid cases where you put another form on top afterwards, and have it sit right on top of a big bold shadow, as we see here.

• Remember to draw all of your sausage forms in their entirety - avoid cutting them off where they're overlapped by others. We want to fully understand how the entirety of each form sits in 3D space, not just the part we'd be able to see.

Continuing onto your animal constructions, there's a lot here that's very much moving in the right direction, as well as some areas in which I feel I can offer more advice to keep you on the right track. As a whole I ccan definitely see you attempting to make good use of the tools presented in this lesson and previous lessons, albeit to varying degrees - for example, I can see you thinking through how to design the silhouettes of your additional masses, such that they wrap around the existing structure in a more believable fashion, although there are other spots where this is not implemented as well.

So the first thing I wanted to draw your attention to is actually a revisit of something I called out in Lesson 4. There I stressed the importance of ensuring that everything you add to your construction is its own complete form with a self-enclosed silhouette, and that anything that modifies an existing form should be avoided. Here on one of your goats I identified some spots along the head where you cut into the silhouette of the initial cranial ball, as well as some areas where you added to the drawing with individual lines that did not strictly establish forms in 3D space. That is, because your addition did not have any clear relationship with the existing structure, it existed only as a part of the flat drawing.

There are certainly other areas where you do work with more complete, fully self-enclosed forms, although the way in which these additional masses are designed can certainly be improved as well. 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, and here on one of your goat drawings.

Along with the careful, intentional use of inward curves, outward curves, sharp corners and smoother corners, note how I blocked out the big mass at the hip/shoulder, which basically represents the larger muscle groups quadrupeds all have to help them walk and run. Blocking these out gives us something to then press our additional masses against, in order to make them feel more grounded and solid. You'll also see more of this on this commentary-free elephant demo.

As you'll note on the goat, there's also a ton more that can be done with your animals' legs. This is something we actually discussed back in Lesson 4's critique as well - the sausage structure is just the base. We then build upon it based on the bumps and other features we see in our references - these aren't always easy to identify, but we improve on our ability to do so by making the attempt. Think of it like a puzzle - you can see what kinds of bumps exist along the silhouette of the leg, but you have to figure out how to build up to it, and what kind of "internal" forms (those that don't impact the silhouette) need to exist between those that do impact the silhouette, in order to keep them all grounded against one another.

Also note that there are definitely still places where you're drawing ellipses rather than sausage forms, like here on this goat's leg. Review the specific requirements of the sausage method and make sure you're striving to stick to the equal, circular shaped ends, connected by a tube that maintains a consistent width.

The last thing I wanted to comment on for now is 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.

I am pleased to say that there are definitely areas where you've leveraged this approach to varying degrees. For example, with these lions, you basically applied it one-for-one, and that came out really quite well. There are plenty of areas where you apply it less strictly however - neglecting to define the forehead, or not being as careful with the specific shape of the eyesocket. 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.

All in all, try to apply this method when doing constructional drawing exercises as closely as you can.

So, I'm going to assign some revisions below so you can demonstrate your understanding of what I've touched upon above, and we'll go from there.