Today's been a pretty long day, and yours is my last critique - so I'm glad to see that it's one that is so well done.

Starting with the organic intersections, you're doing a great job of establishing how these slump and sag over one another under the force of gravity. You've stuck to the characteristics of simple sausages as well, which is always great to see, and your cast shadows are doing a good job in further reinforcing the relationships between these forms and their surrounding ground plane.

Moving onto your animal constructions, I'm very pleased with your work here. When it comes to the core construction itself, it's clear that you're thinking hard about how to combine these forms together, and how to build up from simple to complex structures in a manner that will continually reinforce the illusion of solidity. Looking at your use of additional masses in particular, you're considering how to design each one, focusing on how they wrap around the existing structures. I also appreciate the frequent use of multiple such masses, rather than trying to get everything done in a single go. This helps maintain that solidity further, whereas a single mass trying to do too much would easily get overcomplicated and fall flat.

I can also see that you're taking care to apply the sausage method when constructing your animals' legs. The results here do vary somewhat - I think you had a tendency of making them a little too skinny for the wolves and horses that led to certain inconsistencies in their shapes (making one end smaller than the other) - you definitely had more success with this when making the sausages a little thicker. Obviously this isn't always possible given the proportions of an animal, but I do think that would have helped with the horses/wolves.

Looking at your head construction, this is generally coming along quite well. I can see that you're applying the principles from the informal head construction demo, focusing a lot on building it up as a 3D puzzle, where all the pieces fit together more firmly. One thing I can suggest however is that when you draw your eyelids, it may be better to actually draw them as their own separate additional masses, rather than drawing them as simple lines, as shown here.

The last thing I wanted to talk about is how you build up your fur. Here you are definitely moving in the right direction - I can see that you're more purposefully designing it and thinking about how each tuft should be drawn - but don't worry about really piling it on. There's definitely improvement comparing the wolves to the otters (the otters have the fur tufts applied more sparsely, and as a result they convey the impression of being "furry" a lot more effectively) - but that can be taken even farther. Instead of worry about trying to capture what the reference image directly and literally shows (which is an animal whose body is covered in fur), focus more on getting just enough information across that the viewer understands that this is a furry animal. You can trust the viewer's brain to fill in the rest, as long as the tufts you do add are designed with care.

Aside from that, your work really is moving very much in the right direction. You're doing a fantastic job of focusing on each drawing as an exercise in spatial reasoning, rather than a pursuit of reproducing a reference image, or creating a pretty picture. And as a result, your structures come out feeling more solid, more three dimensional, and you've really demonstrated the skills you've developed in the hybrid. These hybrids are more of a test - the act of combining different animals requires us to understand how the things we see in these various references exist in 3D space, and how they all fit together. I'm very pleased to see how everything is coming together for you.

So! I'll go ahead and mark this lesson as complete.