Starting with your organic intersections, there's one main thing I want to call out. You appear to be choosing to draw these really small. You've got a ton of space available to you, but you appear to be using around 10% of it (based on this). Back in my critique of your Lesson 4 work, I did actually explain towards the beginning of that feedback, that you should be focusing on giving yourself as much room for each individual exercise/drawing/construction, in order to give yourself plenty of space to think through the spatial problems.

While overall you're handling the rest of the exercise decently, there's no good reason not to draw them way bigger, and to give yourself the benefit that comes with.

Continuing onto your animal constructions, this size issue does continue to be present, which does have a more notable impact here, because it is seriously limiting the amount of space you have to work construct the individual forms you're working with, and to think through how they're relating to one another in 3D space. There are also other major points we'd worked through in your Lesson 4 revisions that are coming back into play here, which suggests to me that as a whole, there is a significant issue present in just how you're applying the information you're provided with.

The main thing we worked on in Lesson 4, through your various rounds of revisions, was focusing on one key point: do not engage with your drawings in 2D space, by simply putting individual marks or partial/flat shapes on the page. Always add elements as complete forms with their own self-enclosed silhouettes, thinking about the existing structure as though it's really three dimensional, and then reinforcing that in the next marks you add. In quite a few places, this squid for example, you draw lots of your forms partially, and as shown here in red you also do at times cut back into your silhouettes in order to add further detail by "refining" the silhouettes of existing forms, rather than introducing new ones.

Another point I raised in Lesson 4's critique, specifically in regards to your revisions, was the frequent tendency to neglect to define the joint between the sausage segments used in your leg constructions with a contour line, as is explained in the middle of the sausage method diagram. You continue to neglect to do this in your constructions here.

Now that's not to say there aren't good things present in your constructions - this horse, while it runs into a lot of those same mistakes (no contour lines defining the joints between sausages, lots of areas where you've added partial shapes along the legs and elsewhere, and so on) overall it's still a pretty good construction in that the way it's drawn still makes it feel believably 3D despite those other shortcomings. I can also see clear consideration to how the mass you added along the backside of the horse wraps around the torso (although you do not appear to have drawn this as a completely self-enclosed mass, and instead just let its outline stop where it hit the thigh).

Ultimately, you're simply not giving this work the time you need to apply all of the information you've been given - and that doesn't merely manifest in the instructions you're not following, but also in the manner in which you're drawing. I can see a lot of signs that suggest (though of course I can't know this without watching over your shoulder as you draw) that you're not investing nearly enough time into your observation of your reference images. I think that's actually one of the things that made the horse so much stronger than many of your other constructions - it suggests that you were investing more into observation, looking back at your reference more frequently, and making more of your choices based on what you actually saw, rather than what you remembered.

Compare that to this panda which has plenty of signs that you're rushing - both in terms of the individual elements of the construction being oversimplified (which is a hallmark of relying more on memory rather than looking at your reference frequently), as well as the fact that you didn't use the sausage method, didn't block in the ribcage or pelvis, and so on.

As many of the shortcomings of your work come down to the way in which you're using your time, I'm not going to call out too much more, but I did want to take a moment to talk about how you're approaching head construction. Lesson 5 has a lot of different strategies for constructing heads, between the various demos - although in all fairness I'm not seeing a whole lot of signs that you were applying the methodology from them throughout most of your constructions, but rather just kind of winging it. 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 unfortunately am going to have to ask for a full redo of this lesson's work. When it's completed, you will need to send it in as a fresh submission, which will cost you an additional 2 credits. It is entirely up to you to take the information you're provided with and apply it to the best of your ability (and to ask when things are unclear), and I think you are falling far short of what you are capable of here. I don't feel you're doing that intentionally or with any kind of malice, just that you may be underestimating just how much time these things take. Not only on the individual constructions (which can take multiple hours when you factor in all of the observation, taking your time in the execution of each mark with planning and preparation as per the ghosting method, and in thinking through each step you take consciously rather than allowing your instincts or subconscious to take over), but also in processing the feedback you receive, and reviewing it frequently.

Of course, not everyone has multiple hours to dedicate to a single construction in a single sitting - but of course as I mentioned again in previous feedback, you are welcome and encouraged to spread each individual construction across as many sittings and days as you need.

You clearly have what it takes to do this really well - we can see it in that horse, as well as in your hybrid construction - but you simply aren't giving yourself the time and energy you need. Unfortunately, that severely limits my ability to help you, and as I have limited resources to spread across many students, I will have to warn you that if this pattern continues, we may need to review whether or not continuing with this course in the way you are currently is a good use of both your time and energy, as well as the limited resources I have to spread across the students here. But, that's something we'll look at again later - for now, focus only on giving everything I've said here as much time as it requires, and focus above all else on demonstrating your understanding of the feedback you've been given before, as currently that is not being accomplished.