Starting with your organic intersections, you're arranging these to create a believable illusion of gravity, in terms of how they slump and sag over one another. I can also see that you're making an attempt to consider the way in which the cast shadows are actually projected onto other surfaces, especially towards the upper sausages on this page and in general on this page. Those we see here have a tendency to cling to the silhouette of the form casting them, but as a whole this is something you are certainly improving upon.

Continuing onto your animal constructions, there's a lot you're doing well here, but there are also a number of notable places where I can offer advice on how you're applying these techniques, to help you get the most out of these exercises.

The first of these is actually not present in all your work, but it does come up enough for me to simply want to provide a reminder. If you take a look at this rhinoceros, the linework ends up straying quite a bit from the core principles of markmaking from Lesson 1. That is, you're going back over marks, you're not necessarily investing your time into the planning/preparation phases of the ghosting method, and generally working in a much sketchier manner than the lesson demands. Of course, you do a far better job with this in other drawings, and there are others where it's somewhat mixed - but it's definitely something you'll want to keep in mind.

Continuing on, I do have a few different areas in which your use of additional masses can be improved upon. I'll list the overall categories into which they fall first, then expand upon them:

• You tend to pile contour lines onto your additional masses, although they aren't actually necessary. This is harmless at best, but can actually have a more negative impact which I'll get into in a sec.

• You're making good progress in the design of your additional masses' silhouettes, but this can definitely be improved further, especially with a focus on having those masses come down along the animal's sides to really "grip" those structures.

• Avoid situations where you have any one mass accomplishing too much all at once. Break them into separate pieces, building them up one at a time.

So, looking at the first point, this is actually a completely reasonable issue to end up in, because I do it myself in the Lesson 5 intro video. I have more recently found that the use of contour lines here often ends up being somewhat automatic (rather than fully thought through), and can actually cause students to focus less on how they're designing their masses' silhouttes in the first place.

The kinds of contour lines we introduce in Lesson 2's organic forms exercise, where we pile contour lines onto the surface of a single form is great for introducing the concept of a contour line, but its specific effectiveness in our constructions is somewhat diminished, for the simple reason that generally you don't need many. One, maybe two will often get the job done, if they're necessary at all. Adding more tends to result in diminishing returns, because there's only so much more to be achieved.

Moreover, the contour lines we introduced in the form intersections exercise - those that define the joint or relationship between two separate forms simultaneously - are vastly more impactful, while having the bonus of being impossible to overdo (since there's only ever one valid intersection between any two given forms).

Circling back, just make sure that whenever you put down a contour line (or really use any tool at all) that you take the opportunity to ask yourself, what is the purpose of this particular tool, and what do I plan to get out of its use. How can I execute it in order to do that more effectively, and are there any other ways in which this tool could be used to better achieve that goal.

One of the risks of doing anything mindlessly is that it can also derail us from paying attention to the things that actually demand it. For example, it's not uncommon for students to start feeling that they can actually "fix" mistakes in the design of their silhouettes by adding contour lines afterwards. Unfortunately it doesn't work that way - the silhouette is what establishes the entirety of the relationship between the given mass and the structure to which it is attaching. Adding contour lines merely makes the form itself feel more solid on its own, in isolation, but does not establish those relationships between the forms that are present. But, students are liable to feel that they are able to address some of those issues, and in turn they can be at risk of putting even less time into the design of the silhouette, since they feel it can be "fixed".

Speaking of the silhouettes themselves, this brings us over to then ext point. Overall you are handling those silhouettes pretty well, but I wanted to - just for the sake of completeness - go back over how we can think about the silhouettes as we draw them. 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. 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.

You can see this in action here on your fox. Note especially how I'm stretching the masses down further along the side, considering how they're meant to really "grip" onto the torso structure. I'm also taking advantage of the shoulder/hip masses, which give us additional structure to press up against, helping our masses feel more grounded and integrated into the construction as a whole.

Also, note that there are always going to be specific places where more complex inward curves and sharp corners are necessary (where we're pressing up against other masses), and places where outward curves and more rounded transitions will be necessary (where there's no specific masses to press up against).

Onto the last point on this topic, the rhino I'd called out previously has a single mass running the full length of its back, resulting in a single form that accomplishes too many different things, taking on many different bits of complexity which in turn make it a lot harder to stand solidly on its own. Instead, as shown here, break those masses into separate pieces, building them up one at a time.

Continuing onto your leg constructions, I can see that you are employing the sausage method fairly well. There are some places where you're still prone to extending their silhouettes out (like here) though you are generally focusing more on the use of additional masses. Just be sure not to only focus on the masses that impact the silhouette of your given structure. Also consider the "inbetween" forms, as these help us to better grasp the way in which the different masses fit together. You can see what I mean here on another student's work.

When it comes to feet, I do have some advice here that can help as well. Try to focus on the use of "boxy" forms - that is, forms whose corners exist in specific places to imply the presence of internal edges/distinctions between planes, without actually having to draw in those edges and increase clutter. Here's an example of what I mean.

The last point I wanted to talk about is head construction. Lesson 5 has a lot of different strategies for constructing heads, between the various demos. Given how the course has developed, and how I'm finding new, more effective ways for students to tackle certain problems. So not all the approaches shown are equal, but they do have their uses. As it stands, as explained at the top of the tiger demo page (here), the current approach that is the most generally useful, as well as the most meaningful in terms of these drawings all being exercises in spatial reasoning, is what you'll find here on the informal demos page.

There are a few key points to this approach:

• The specific shape of the eyesockets - the specific pentagonal shape allows for a nice wedge in which the muzzle can fit in between the sockets, as well as a flat edge across which we can lay the forehead area.

• This approach focuses heavily on everything fitting together - no arbitrary gaps or floating elements. This allows us to ensure all of the different pieces feel grounded against one another, like a three dimensional puzzle.

• We have to be mindful of how the marks we make are cuts along the curving surface of the cranial ball - working in individual strokes like this (rather than, say, drawing the eyesocket with an ellipse) helps a lot in reinforcing this idea of engaging with a 3D structure.

Try your best to employ this method when doing constructional drawing exercises using animals in the future, as closely as you can. Sometimes it seems like it's not a good fit for certain heads, but with a bit of finagling it can still apply pretty well. To demonstrate this for another student, I found the most banana-headed rhinoceros I could, and threw together this demo.

Overall you are doing pretty well but there are enough little things that I'd like to assign some additional revisions so you can demonstrate your understanding, and so I can ultimately send you forward with confidence that you'll be well positioned to apply these in your own practice. You'll find the revisions assigned below.

Oh, as a side note, in regards to how many drawings you were doing per page, there's nothing wrong with just doing one drawing on a given page, as long as your focus is on making good use of the space that is available to you on the page. That said, in terms of what you were saying about these not being your first try, I would strongly recommend that you review this video from Lesson 0 which explains, among other things, that you should not be taking any "practice runs" at the assigned work.