Starting with your organic intersections, you're doing a good job of establishing the way in which these forms sit and slump over one another under the force of gravity, so you're ending up with a nice, solid pile. One thing you will need to keep working on however are your cast shadows - you're moving in the right direction here, with most of them wrapping around the existing surfaces correctly, but I did notice that this one seems to have its shadow cling to its own silhouette, and could have the way in which it wraps along the lower sausage's surface exaggerated further. Also, be sure to keep a consistent light source in mind to avoid situations where your shadows are cast both to the left and the right. Right now it looks like you're kind of hedging by keeping a light source that is roughly right above the pile, but this can be quite tricky and can only be managed by keeping your shadows relatively small. As soon as you lean too hard in one direction, you get into the territory of contradicting other shadows.

As to the previous point about shadows being pushed to wrap around the underlying surfaces, the second page of this exercise had some more notable examples of this, so I marked them out here.

Continuing onto your animal constructions, you've honestly done pretty well in large part. I can see you trying to think through how to build out each animal from simple components, and trying to sort through how they all fit together in space from early on in the set, and I feel you make good progress with this as you move on through. There are a few things I want to call out to your attention, but overall you're very much moving in the right direction.

• Firstly, there are two things that we must give each of our drawings throughout this course in order to get the most out of them. Those two things are space and time. While I feel you're mostly giving yourself plenty of time to work through each construction, right now it appears that you are thinking ahead to how many drawings you'd like to fit on a given page. It certainly is admirable, as you clearly want to get more practice in, but in artificially limiting how much space you give a given drawing, you're limiting your brain's capacity for spatial reasoning, while also making it harder to engage your whole arm while drawing. The best approach to use here is to ensure that the first drawing on a given page is given as much room as it requires. Only when that drawing is done should we assess whether there is enough room for another. If there is, we should certainly add it, and reassess once again. If there isn't, it's perfectly okay to have just one drawing on a given page as long as it is making full use of the space available to it.

• Back in my critique of your lesson 4 work, I drew attention to the fact that you were in large part employing the principles of the sausage method, but that you were frequently forgetting small but important things like reinforcing the joint between the sausage segments with a contour curve. Overall I don't really see any signs of you applying that feedback in your work here, and I do see plenty of cases where you've opted to deviate entirely from the sausage method (using cylinders and other components. The key to keep in mind here is that the sausage method is not about capturing the legs precisely as they are - it is about laying in a base structure or armature that captures both the solidity and the gestural flow of a limb in equal measure, where the majority of other techniques lean too far to one side, either looking solid and stiff or gestural but flat. Once in place, we can then build on top of this base structure with more additional forms as shown here, here, in this ant leg, and even here in the context of a dog's leg (because this technique is still to be used throughout the next lesson as well). Just make sure you start out with the sausages, precisely as the steps are laid out in that diagram - don't throw the technique out just because it doesn't immediately look like what you're trying to construct.

• Remember that in this course, whenever you freehand an ellipse, you are required to draw through the elliptical shape two full times before lifting your pen. I'm seeing a lot of ribcages where you skip over this requirement.

• When it comes to head construction, you've got a bunch of different strategies that you use throughout the set, and some of them are definitely stronger than others - specifically, those that fit the different components of the head structure (eye sockets, muzzle, forehead, etc.) together like pieces of a puzzle are generally more successful in creating a solid result than those that have those components floating more loosely away from one another. Give this demonstration from the informal demos page a read, and try to apply it to all of your head constructions moving forward in its totality (including defining the forehead/brow ridge). Eventually this will be reintegrated into the main lesson material itself, but I have a lot of other lesson material to update before I get around to it.

• Lastly, when adding additional masses, always ensure that any complexity - such as sharp corners or inward curves - is always the result of another mass or form pressing in on the mass in question. Avoid complexity that is not created in direct response to other external factors. So for example, as marked out on this deer, you'd take advantage of opportunities to wrap the posterior mass around the large hip masses, and then use a more gradual transition to bring it back around (rather than placing a corner at a random location).

So, as a whole, there are some areas where your approach can certainly be improved, but as a whole you're still demonstrating a good grasp of how construction focuses on building things up through the combination of different three dimensional forms in a believably 3D space. I'll leave it to you to apply what I've shared here on your own, so you can go ahead and consider this lesson complete.