Starting with your organic intersections, these are coming along decently, specifically in that you are definitely putting a considerable effort into figuring out how the forms all rest and slump against one another under the force of gravity. I am however noticing some sloppiness when it comes to the contour lines - you're adding a lot of them, but don't necessarily take as much time for each individual one to ensure that it's being executed to the best of your ability. A good example of this is on the bottom right of your second page - here you basically built up a wideframe but those contour lines didn't really hook back around to give the impression that the form had clear volume to it.

Continuing onto your animal constructions, I think overall you're definitely moving very much in the right direction here, and I can see you employing principles from the lesson in a variety of places, and to pretty good effect. There are a few things I want to draw some attention to, but as a whole I feel your work here is coming along well.

So - not to beat a dead horse - but the first point I wanted to raise was the very heavy use of contour lines here, similarly to in your organic intersections. Those organic form exercises basically lean pretty hard into the use of a lot of contour lines, so having a bunch of them there isn't a big deal as long as you're taking your time with each one's execution. When you're actually getting into using contour lines as a tool in your constructions however, we do have to be more thoughtful towards exactly what we're looking to get out of each individual mark, and what role it's going to play in the drawing as a whole.

It really comes down to the use of the ghosting method. As it breaks each mark down into a planning, preparation, and execution phase, it's critical that during the planning phase we figure out exactly what the job of that mark is meant to be, what it's going to contribute to the drawing, and whether another mark is already doing the same job. With contour lines, it's easy to end up with diminishing returns, where one contour line will have a significant impact, a second will have much less, and a third will have even less. So being sure to leverage them where they're going to have the most impact, and reducing unnecessary repetition becomes quite important.

In general, I do feel you're largely using those contour lines more than is really necessary. It's common for students to try to pile them onto the additional masses, but the thing to keep in mind is that contour lines like this work primarily as a tool to make a form feel three dimensional on its own. When the additional masses, our focus is much more on establishing how this given form relates to the existing structure, and it's in defining that relationship in 3D space that the given form ends up feeling more solid. What this basically means is that we don't need those internal contour lines. By focusing on how that form wraps around the existing structure, and how it relates to it, we can make it feel 3D without needing any additional contour lines.

Now, this does mean that we have to pay a lot of attention to the way that form's silhouette is designed. I can see that you are definitely doing this to a point, but this can still be improved. As shown here, be sure to focus on each mass being as simple as possible, breaking them into separate pieces if needed. You did a good job of using a different mass for the shoulder/base of neck area, but the other one towards the back was definitely trying to accomplish too much. Also, I noticed that you kind of had the two masses pass through one another - instead, be sure to have them pile on top of each other. Remember that for each one, we have to consider how they wrap around the existing structure - that existing structure includes other masses that we've added already.

One thing that helps with the shape here is to think about how the mass would behave when existing first in the void of empty space, on its own. It all comes down to the silhouette of the mass - here, with nothing else to touch it, our mass would exist like a soft ball of meat or clay, made up only of outward curves. A simple circle for a silhouette.

Then, as it presses against an existing structure, the silhouette starts to get more complex. It forms inward curves wherever it makes contact, responding directly to the forms that are present. The silhouette is never random, of course - always changing in response to clear, defined structure. You can see this demonstrated in this diagram.

I do feel that what I explained above is something you already understand, but it's still better for me to explain it and you not need it, than you needing it and me not explaining it.

The last thing I wanted to talk about is your head construction. As a whole, you're doing a good job with this, and I can see you experimenting with it in a variety of ways, but there are two main points I want to draw to your attention that should help as you move forwards:

• Firstly, avoid gaps between the different components of the head. As shown here, try to fit those components together as tightly as you can, creating a sort of three dimensional puzzle. This will help break the head into a series of planes that all fit snugly together. Even the specific shape of the eye sockets is important here, in how it allows for a nice wedge gap for the muzzle to fit into, as well as a flat surface for the brow ridge/forehead to sit upon.

• When constructing your eyelids, try to build them up as their own individual masses, as shown here. This'll help you continue to focus on how these elements all interact with one another in 3D space.

Anyway, as a whole I do feel you're largely moving in the right direction here. Be sure to keep practicing the points I raised, but feel free to consider this lesson complete.