I'll start out by answering your question. The number of drawings per page isn't all that important to me, so much as how you're using the space available to you on the page. Our first priority is to give each drawing as much room as it requires. Once the first drawing is on the page, we assess whether or not we feel we have the room for another. If we do, we add it. If we don't, then it's okay to have just one drawing on a page. So your priority of drawing bigger is entirely fine.

For your organic forms with contour lines, for the most part you're doing a pretty good job here, in constructing the forms such that they feel solid, and convincingly establishing how they slump over one another. Your shadows are a bit off in some places (like in the second page, you've got a gap in the shadows on the ground that shouldn't be there), but all in all they're pretty well done.

Moving onto your animal constructions, there is both good and there is less good. The first major issue I want to point out has to do with this bear, as it captures a number of issues that we can focus on here, instead of addressing them across multiple drawings. I have outlined them here.

• The biggest issue comes down to how you've basically encompassed the sausage structures of the legs with outer 2D shapes to add bulk to them. If you work in 2D shapes, your drawing will come out looking 2D. If you work strictly in 3D forms, then your drawing will come out looking 3D. It's a pretty simple rule.

• In my critique of your lesson 4 work, I showed you how you might build up additional mass and forms for an ant's leg and a dog's leg by wrapping new, complete forms around the existing structure. That is precisely what you'd be doing here, because each new form is itself created in 3D space, and its relationship to that sausage structure is clearly defined in how it wraps around. You can also look at this demonstration of how to wrap a form around a sausage structure, as well as this one.

• For the forms along the bear's back, you really need to stress how they wrap around the underlying structure, and how they conform to any other forms they come in contact with - including each other. Putting contour lines on these forms after the fact won't help you - they'll make the forms feel 3D in isolation, but they won't establish the relationship between the given form and the rest of the structure. You can read more about how to use these here.

• You appear to have skipped defining the eye sockets when drawing the bear's head. The eye sockets are important - the rest of the facial construction extends from it, as the eye sockets start breaking up the otherwise smooth, curving surface into a bunch of different planes. All facial construction is about figuring out how to distinguish planes, and the landmarks the eye sockets provide helps us achieve that. You can see some additional head construction demonstrations in the informal demos page.

• I didn't call this out on the page, but you're still using the sausage method incorrectly. Take a good look at this diagram. Firstly, you are to place a contour curve right at the joint between the sausage segments. This clearly defines the relationship in 3D space between those sausages, and makes them both feel solid and three dimensional. Secondly, you are not to place any contour lines in the middle of your sausages. Both of these points are clearly shown.

Moving forward, I wanted to mention that in many ways, this cat is very well done. That's not to say it's perfect - the additional forms along its back are somewhat lazily drawn without enough consideration for how they wrap around the underlying structure (although there was a bit of consideration for that), and some of the leg consturction's a bit lazy too, but the overall motion you captured is quite natural, and the head construction felt good. As a whole, it was headed in the right direction, it just seemed like you didn't put much effort into certain parts of it, and then didn't push the whole construction to its fullest extent.

The last thing I wanted to point out is that the amount of attention you pay to actually observing your reference differs greatly across the different drawings. Some show very strong observational skills, whereas others are considerably weaker. Or sometimes one part may be well observed, whereas another may have been more of an afterthought. So to that point, I am convinced that you are capable of demonstrating solid observational skills, but you aren't necessarily always pushing yourself in that regard.

So, I've outlined a number of things for you to work on:

• The use of additional masses

• The use of the sausage method

• The use of additional masses to help build upon your basic sausage structure

I'm going to assign a few additional pages below for you to push forward in these areas.