Starting with your organic intersections, it's pretty clear that with the first pile on this page you made a mistake in outlining a number of these forms with that thick, black line, and you were aware of that, having moved on from it yourself. I will however point out exactly why it was a mistake. To put it simply, you conflated line weight and cast shadows, merging them into one tool, when they are in fact two distinct tools with their own restrictions.

Line weight can sit along the silhouette of a form, but must remain extremely subtle, being treated like a whisper to the viewer's subconscious, not something that stands out obviously in any way. It serves the purpose of clarifying overlaps in specific localized areas, and shouldn't extend along the whole outline of a given form, but instead should be concentrated in a limited area and blend back into the existing linework by virtue of making those additional marks more confidently, allowing for a tapering towards the beginning and end of the given mark.

Cast shadows on the other hand are a product of lighting. They can be as broad and bold as you need them to be, but they cannot simply cling to the outline/silhouette of a given form. They must be cast upon another surface - even if that surface is some distance away - and they must wrap around that surface. They must also abide by a consistent light source - meaning that you can't cast a shadow both to the left and right of forms in the same scene, as you do appear to with your organic intersections.

Continuing onto your animal constructions, there is a lot of good here, but there is one overarching issue that we will need to address. For all intents and purposes, it's just an area where you focused very heavily on using one particular tool to try and solve a certain kind of problem, when in fact another tool would have been far more effective.

That issue is your additional masses, and the tool you attempted to use to help integrate them into the given 3D structure of the animal's body was the heavy concentration of contour lines you piled onto those additional masses. Now, it's true - this did make those forms feel three dimensional on their own, but unfortunately it did not address one key issue - it didn't help those forms actually become a part of the existing structure. It did not define how the form you'd added actually wrapped around the body to which it was attaching.

Before we get to how one can approach that more effectively, let's talk about how you really piled those contour lines on. Generally speaking, when I see students covering their forms with contour lines, it suggests to me that they are doing so out of habit, without necessarily considering what those marks are contributing to a given drawing. Remember that the ghosting method itself - which we use for most of the marks we draw - starts with a "planning" phase, focusing on determining the nature of the mark we wish to draw, and exactly how it is meant to contribute to our drawing.

Contour lines themselves fall into two categories. You've got those that sit along the surface of a single form (this is how they were first introduced in the organic forms with contour lines exercise, because it is the easiest way to do so), and you've got those that define the relationship and intersection between multiple forms - like those from the form intersections exercise. By their very nature, the form intersection type only really allows you to draw one such contour line per intersection, but the first type allows you to draw as many as you want. The question comes down to this: how many do you really need?

Unfortunately, that first type of contour line suffers from diminishing returns. The first one you add will probably help a great deal in making that given form feel three dimensional. The second however will help much less - but this still may be enough to be useful. The third, the fourth, the fifth... their effectiveness and contribution will continue to drop off sharply, and you're very quickly going to end up in a situation where adding another will not help. I find it pretty rare that more than two is really necessary. Anything else just becomes excessive.

Be sure to consider this when you go through the planning phase of the contour lines you wish to add. Ask yourself what they're meant to contribute. Furthermore, ask yourself if you can actually use the second (form intersection) type instead - these are by their very nature vastly more effective, because of how they actually define the relationship between forms. This relationship causes each form to reinforce the other, solidifying the illusion that they exist in three dimensions. They'll often make the first type somewhat obsolete in many cases.

Not every spatial problem can actually be solved this way, however, since we don't always arrange forms in a way that they intersect one another, and these additional masses is one such case. Here we are wrapping the additional mass around the given structure, and the tool we must use here instead is the specific design of each additional mass's silhouette. To put it simply, you need to consider how you're going to shape this new mass so it actually gives the impression of wrapping around the existing structure. This will create the relationship in three dimensions, and is an extension of the organic intersections exercise.

I can see some examples of this in your work - for example, if we ignore the contour lines on the mass along this wolf's backside you are clearly thinking about how that silhouette wraps around the torso. We do not however get this same impression at all with the masses you added along its legs - each of those were random blobs, and none of them hold onto the structure in a way that is believable.

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.

Here are some notes directly on the wolf drawing. On the left side, I've shown how you can ostensibly wrap those additional masses around the given structure. This employs the same kind of method as what was shared to you back in my Lesson 4 critique - specifically in this diagram and this one.

There are also some additional points there - including the fact that you don't appear to be employing the sausage method when constructing your animals' legs. You use parts of it in some cases, but aren't following all of its elements. You may want to reflect upon what it entails.

Anyway, I've given you a number of things to work on, though the main thing is just the shaping of your additional masses. I'm going to assign some additional pages for you to complete, but for them I want you to adhere to one restriction: you will not be allowed to use any of the first category of contour lines - that is, those that sit along the surface of a single form. You will still be allowed (and encouraged) to use those that define the relationship/intersection between multiple forms.