You are certainly moving in the right direction here. There is certainly room for improvement, and I'll list some areas to focus on below, but from here it's really a matter of continuing to practice this on your own, and periodically rereading the feedback you've received to ensure that you haven't forgotten anything, or allowed anything to slip through the cracks.

• Overall in terms of construction, I can see that you're paying a lot of attention to how the different pieces fit together, how masses wrap around one another, and so on.

• One small thing I noticed was that on this horse revision, the mass you've got along the back of the neck/over the shoulder is missing an opportunity to actually press up against the shoulder mass. Note the notes on the right side of this page I provided in the previous feedback.

• While as a whole you're handling construction pretty well, I do think that a lot more time can definitely be invested into the actual observation of your references. This of course demands a lot of time, and it's not at all uncommon for students to, when their construction can be improved, shift time away from observation in order to do so. This of course can result in proportions being less consistent, and the forms we add to our constructions to be a little more simplified, due to working more from memory. Observation is still where the majority of our time needs to go - as a whole, that simply means that to give everything its due, these drawings will require more time overall. As I mentioned in my previous feedback, if that means spreading a single drawing across multiple sittings or days, that is precisely what you should do. Another thing that can help to avoid a more natural tendency towards rushing is to simply only work on one animal construction in a given day, rather than allowing yourself to tackle more in the same sitting. When we keep the option of working on a couple in a single sitting, it can encourage us to cut corners and invest less into each individual drawing.

• Lastly, I noticed that when you build up additional masses along your animals' legs, you tend to focus primarily on the forms that impact the silhouette. This leaves a sort of "missing puzzle piece" of internal forms. Including these can help inform how all of these masses actually fit together. You can see an example of this both in the dog leg demo I provided in your Lesson 4 feedback, and on the leg of this horse by another student, where I marked in both additional masses that sit along the silhouette, and one in between them all, helping to define all of the masses' silhouettes with more specificity.

So - there's still things to work on, but you're headed in the right direction. As such, I'll go ahead and mark this lesson as complete.