Starting with your organic intersections, there are just a few things that caught my eye here:

• Your sausage forms tend to have one end larger than the other, and the smaller end tends to be pointier. While this isn't a huge concern for this exercise, it is always better to focus on simpler forms, which means adhering to the characteristics of simple sausages (two equally sized, circular ends connected by a tube of consistent width).

• I suspect that you may not be thinking quite as much about how each form rests on the pile below it, while you're drawing the form itself. The silhouettes don't entirely wrap around the forms beneath them, and instead it looks like you're focusing more on using the cast shadows to help convey the relationship between the forms. The shadows are certainly pulling their weight, but it is extremely important that you focus on how to design the silhouette of a given form in order to fully capture its relationship with the other masses.

As a whole, I think your work throughout this lesson has improved a great deal, from beginning to end. Your earlier ones - like this bear for instance - shows a lot of hesitation in the linework, a lot of uncertain marks, and definite issues in observing your reference, causing some oversimplification.

As you progress through the set however, I can see clear improvement in all of these areas. Your linework gets more confident and purposeful, you're thinking more about how the different components all fit together in 3D space, and your use of construction helps produce more solid results. I'm especially pleased with this hybrid - though you probably could have done more with its hands.

Where your organic intersections didn't demonstrate a really clear understanding of how the silhouette of each mass would change according to the structure it was being attached to, you definitely showed development in this area throughout your animals. I can see that here you're designing those silhouettes purposefully, thinking about how and where they would curve inwards in response to contact with another structure, or where they'd curve outwards where nothing is present to push in on them, as shown here.

That said, I think this could be improved when it comes to the forms you add to your animals' legs. On this horse you kind of just dropped somewhat arbitrary shapes on top, and didn't really factor in how the silhouette would respond to wrapping around the leg structures. Furthermore, there's a lot more you can do when building on top of the sausage structure, as shown with this ant leg and this dog leg.

Now there are still some issues with linework that I want you to be aware of. They're minor, but looking at this horse, I'm seeing areas where lines start or stop arbitrarily, suggesting that you're not necessarily taking the time to plan and prepare (using the ghosting method) ahead of time. This also results in more gaps (like the horse's ear), and places where you end up doubling up your lines. Slowing down, and taking more time to plan will help eliminate this sort of waste.

When it comes to head construction, you're definitely using a lot of different approaches - some of them are better, with the individual components of the head being more grounded against one another, creating the impression of a 3D puzzle - but in other cases, you just drop the eye socket wherever, leaving it floating relative to the other components (like the muzzle, the brow ridge, etc). It's really important that wherever possible, you define how your forms relate to one another, as explained in this head construction breakdown. Even though it's currently in the informal demos section, once my overhaul of the course material (which is currently still back at Lesson 1) reaches lesson 5, this is the approach I'll be pushing in the main lesson.

One last thing - when it comes to feet, I think you tend to be a little too willing to leave them in a fairly simplified state. I'd like you to take a closer look at them in your references (working with higher-resolution references always helps in this regard) and determine where you could add on additional forms and structures to build out the other major elements.

Overall you're definitely moving in the right direction, but there are enough little issues (mainly the linework and the oversimplified legs) that I think could definitely be improved upon by just investing a little more time in your drawings. So, I'm going to assign just one animal drawing as your revisions. I want you to invest as much time as you reasonably can into each and every step of the construction.