Starting with your organic intersections, you're generally doing a good job with thinking through how your forms slump and sag over one another (although you do have a tendency to make some of your sausages more complex than they should - try and stick to the standard simple sausage - while it can bend, it shouldn't outright become wiggly with a lot of complexity in its silhouette. When it comes to the cast shadows however, there is room for improvement here - you're somewhat selective about which forms are casting shadows, when in truth they all should be. When doing this in the future, try and look at each form individually, considering what shadows it would cast on all the surfaces around it. Right now you may be thinking more in terms of pairs (what shadows does this sausage cast on this particular other sausage), which can result in incongruities when a form casts shadows across multiple surfaces. Here I've filled in some of your missing shadows.

Continuing onto your animal constructions, I have some advice to offer you that should help you continue to really make the most out of these kinds of exercises, but before that, there are a few smaller issues I want to quickly call out:

• I'm seeing a tendency to pinch the midsection of your torso sausage, when you connect the ribcage and pelvis. We can see this more prominently on this horse, but it's present to varying degrees across many of your constructions. While generally you are going to see the sausage taper as it goes towards the pelvis, what we don't want any of is pinching where the midsection gets skinnier and then flares back out. This complexity undermines the solidity of the form, giving us something of a weaker foundation upon which to build the rest of our construction.

• Your linework at times gets a little clunky, and I think this comes from three main issues (which I'm gonna breakdown into the next 3 points because.. formatting)

• First issue - you're going back over your linework, often tracing back over it with somewhat hesitant lines. In general, aside from line weight, you should not be going back over your lines. For line weight you should be limiting how you use it to the approach explained here - basically focusing on clarifying overlaps between different forms, not arbitrarily reinforcing the silhouettes of those forms.

• Second issue - this doesn't happen all the time, but you do sometimes get a little aggressive with drawing through your ellipses. Aim to draw through them twice - that is, two rounds of the shape. Three at most, but two is generally ideal. More than that and you start to lose track of what you're doing. Also, treat the outermost perimeter of the ellipse (in the case of a looser one) as the edge of the ball form you've established, so you don't have stray marks falling outside of it.

• Third issue - I'm less sure about this one, but you may be pressing hard on your pen, or choking the pen too tightly. Loosen your grip, and don't worry about applying a ton of pressure.

• I also noticed that you're still rather inconsistent when it comes to the sausage method - specifically defining the joints between the sausage segments with contour lines. You do it sometimes, but not others, which suggests that you're not as focused on every individual action you're taking, and the specific aspects of the techniques you're employing, as you should be.

• For your animals' antlers, it's pretty clear that you were thinking about employing something like the branches technique from Lesson 3, but for whatever reason you didn't apply it directly. This resulted in you running up against some of the basic principles of construction, like jumping ahead in complexity too soon (like drawing the whole silhouette of your structure, then attempting to reinforce it with contour lines to fix the inevitable lack of solidity).

Now, one of the main points I want to discuss in this critique is about the use of additional masses. You're definitely making good headway with this already, and there are a lot of places where you're certainly thinking through the design of their silhouettes fairly well, though it can be improved.

Here I've made some changes to one of your horses. To start, in teal I fixed the pinching of the midsection of the torso - as previously discussed it gave us something of a less solid foundation upon which to build. In your own forms, you're doing a good job of paying attention to the placement of inward curves and sharp corners, although here you'll notice that I made an effort to press the masses up against one another, where I could. I took advantage of the big shoulder/hip masses animals tend to have (it's a simplification of this area that generally contains the big engine muscles that help animals walk and run), and made a point of pressing my additional masses against them to create more of a puzzle, with interlocking pieces. This helps make the structure as a whole feel more grounded and solid.

Additionally, I noticed that your use of additional masses along your animals' legs tended to be fairly sparse - often focusing on capturing specific bumps along the silhouette. Instead, paying attention to the "inbetween" forms as well, as shown here on another student's work and on that horse's back leg can help achieve that same sense of interlocking puzzle pieces, to make the whole structure feel more solid. In effect, those inbetween forms help us determine the shapes of the ones that push beyond the leg's silhouette, making the whole structure more solid. This also helps us pay attention to some of the more nuanced elements in our references.

And as a quick bonus, here's a diagram that should help with constructing feet.

The last thing I wanted to discuss 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.

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, I feel that based on your work, and how you've generally demonstrated your ability to apply past feedback, that you should be well equipped to apply these points yourself. I'll go ahead and mark this lesson as complete, just be sure to come back and review what I've shared here periodically to ensure that you don't end up forgetting as time goes on. You will likely find that applying the feedback will take time, and that it'll sink in gradually in its entirety.