Starting with your organic intersections, these are relatively well done (aside from the scratchy way in which the shadows were filled - if you can, grabbing a brush pen to fill these in is worthwhile, as in all drawings ensuring that shadow shapes are entirely filled and that their edges are smooth and concise is important). You've largely drawn the sausages with a mind towards simplicity, and have worked hard to convey the interaction between them in 3D space. There are a couple issues that I'm noticing however, which I've outlined here.

• The degree of your contour lines are incorrect in a number of places. Their degree takes two things into consideration: first, the orientation of that cross-section in space. Second, the rule explained here that assuming the form doesn't turn in any significant way, the end farther from the viewer will always have a wider degree than the end that is closer. In several cases you drew this relationship in reverse.

• Also watch the degree you use for the contour ellipses at the tips - always make sure this corresponds with the direction in which the tip is facing.

• Make sure your cast shadows are wrapping around the surface on which they're being cast.

Looking at your animal constructions, there are aspects to them that are well done, but every single drawing seems heavily covered in fur that was honestly not very well done. So, let's talk about that first. Here's some notes on how you're approaching fur. The most notable issue is that you're treating each tuft as the addition of individual lines to the drawing. What we're really doing first and foremost, if you look at the section from the lesson on fur, is extending the shape of the silhouette. This means that you need to convince the viewer that they're looking not at individual marks on a page, but rather the silhouette of a single object and form. We achieve this by taking each tuft and drawing it right off the existing silhouette, drawing a few intentionally and carefully designed 'spikes', and returning to the silhouette. Your line should not penetrate back into it, instead it should flow back into the existing edge.

Since designing those tufts will not be easy, make a point of not trying to draw each one with a single continuous line. You can let your lines stop, line your pen up where the previous stroke ended, and start a new one when the trajectory changes as discussed way back in Lesson 1.

The last point about fur is that you're vastly overdoing it. You don't need to cover the entire body in chunks of fur - you only need to add enough that the viewer understands that what they're looking at is furry. We're not reproducing the reference image here - instead, we're communicating and conveying what that image has captured. Our focus at all times needs to only be on drawing enough to get that idea across. There are a lot of places where your underlying construction has been alright, but you've gone so far overboard with fur that you undermined and contradicted what was established there.

I believe there are also cases where you may have been a little more preoccupied with getting to that fur that there are definitely some cases where your underlying construction did not receive as much time as it could have.

Getting to your construction, you're definitely showing that you understand a lot of the concepts covered in the lesson - use of the sausage method to construct your legs, following through the head construction steps, etc. but I definitely feel that the individual marks are drawn in a way that feels somewhat rushed. That investing more time into the planning and preparation phases, achieving more specific, controlled marks and forms, etc. would have resulted in a much more solid construction. Stepping back to your organic intersections, I'm seeing far cleaner, far more intentionally constructed sausage forms. They're not perfect, but show that you took time in drawing them and were trying to get a specific, planned intent across.

Slipping down to the wolf on which I based my fur critique, the sausages you've drawn for its legs however appear to be much more loose. You seem to go back over them a little (remember that drawing through ellipses is reserved only for ellipses due to how they follow the same continuous trajectory), and your overall control with them seems to be more limited.

If we look at the head constructions, you're obviously thinking about how your forms fit together, but your eye sockets are drawn with a single continuous stroke (resulting in a more rounded, organic line) instead of doing so with individual marks, as shown in blue on step 8 of the donkey demo. Drawing the eye socket with separate edges forces us to think more about the planar nature of the head, rather than smoothing it out into something more organic and approximate.

Looking at Fox #2, specifically its legs, I can see that you made efforts to apply the sausage method to construct its legs, but even looking at the contour curves reinforcing the joints, they're drawn very loosely and sloppily, instead of using the ghosting method to achieve a more controlled, specific stroke.

What I'm seeing as a whole is that you are keeping the lesson in mind, but are attempting to use your understanding of the lesson to inform your instincts. Then, when you draw, you rely on those instincts rather than on explicitly planning out and executing every single mark with forethought and consideration. That is not how this course works.

Drawabox is about training your instincts, about developing your intuitive sense of where marks should go if you're capturing something as it exists in 3D space. We do things in a measured, planned, structured fashion here so that your instincts can be trained effectively. This is not done through simply reading along with instructions, or understanding things on a theoretical level. It is done through the actual act of drawing, of repeating the same process time and time again until it becomes ingrained in your muscle memory, until your brain itself is rewired and changed in how it approaches problems. None of this is what humans were evolved to accomplish. Being able to reproduce something accurately to how it actually appears in the world helps us to survive as a species. This is not what we're for. And so, we have to actively train our brains to function differently.

If, however, you attempt to rely on your instincts while doing the exercises that are meant to train those instincts, the actual growth you're likely to see is going to be very limited. Instincts cannot train themselves.

I'm seeing a great deal of potential here in your theoretical understanding, but you really need to force yourself to take the time with each drawing to actually apply each mark specifically - not loosely, not haphazardly. If our contour lines float arbitrarily relative to the surface upon which they're meant to rest, if we use multiple marks to capture a single stroke, and if we aren't doing everything we can to ensure that our lines go where we mean them to, then our constructions will not feel solid, and the illusion that these things we're drawing are truly 3D forms will fall apart. You're getting there - I can see that you are seeing your forms as three dimensional in many of these, but you simply aren't putting the time into each individual mark to share that vision with those who look at your work.

So, I'm going to assign some additional pages focusing only on construction, to give you the opportunity to achieve this.