Starting with your organic intersections, for the most part these are quite well done, but there are two small issues I want to bring to your attention:

• First off, make sure you're drawing each sausage form in its entirety. Don't cut them off where they go behind another form, ensure that you're allowing yourself to understand how each form exists in its entirety, so you can fully grasp how they relate to one another in 3D space as well.

• Since this exercise is all about drawing forms such that they demonstrate their interaction with the forms beneath them through the way their silhouettes bend, there is effectively no way to draw a form underneath one that already exists and have that existing one react to it. As such, only build up, piling more forms on top, not sneaking them underneath.

Moving onto your animal constructions, your work here is for the most part quite well done. There are a few issues that I think can be done better, but as a whole you're demonstrating a strong understanding of how your forms sit together in space, how they relate to one another and how they connect to one another, resulting in constructions that are solid and believable. I'm also very pleased to see that you're drawing everything quite large, really taking full advantage of the space available to you on the page.

The first issue I noticed was actually one that was only present towards the beginning - specifically with the frigate bird, your approach there was definitely a lot sketchier and more explorative, especially with the areas covered in feathers. Regardless of what they're made of, it's worthwhile to simply treat masses and forms as being equally solid. After all, feathers may be light, but if you pack them together, they'll produce something much more substantial, and so you want to be able to capture that sense of density and solidity. In order to achieve this, we have to make sure that we capture these forms with completed, enclosed silhouettes, rather than drawing a series of loosely related lines that don't necessarily enclose a volume of space.

Once the form's been drawn, we can always build up feathers on top of it, as shown here - of course, still ensuring that we're thinking through each mark, and not being haphazard with them. Always remember - draw, don't sketch.

Moving onto the legs, for the most part you handled these pretty well, but there were definitely cases where when adding additional masses to their structure, you took little shortcuts by merely bridging from one form to another with a line (instead of drawing a complete new form), or where you attempted to add an additional mass that got so big you lost track of it, as shown here. That said, your work with legs is honestly still very well done.

When it comes to additional masses, I always try and push students to think about their masses first as they exist on their own, in the void, as a ball of soft meat. Here they have no complexity, being made up only of outward curves with no corners to their silhouettes. Once they press up against an existing structure however, they start developing complexity, with inward curves to wrap around those existing forms as shown here. This essentially means that we need to always make sure that we understand the nature of both the additional mass, and all the forms it's pressing up against. We can't draw the silhouette to have complexity (inward curves) without a clear source of that complexity. For the most part, you did a great job with this.

Just to nitpick on a few last points:

• For the lower dolphin on this page](https://i.imgur.com/FjmleqX.jpg), you attempted to redraw/correct the dome of its head. Do not correct mistakes and do not redraw the silhouette of forms you've already established, without exception. Construction is all about building upon the choices and decisions you've committed to. That means accepting that due to certain slip-ups, our results won't perfectly match our reference images. That is completely fine. Once you try correcting a mistake however, you're going to end up introducing contradictions that undermine the solidity of your construction, and remind the viewer that they're just looking at a drawing on a page.

• When drawing fur, your tufts were definitely a bit haphazard, and I think could have been done better. Take your time - just because there's a lot of fur doesn't mean that you can spend minimal time on each little piece. Even one piece of a far greater totality is worth the same time and attention as it would if it were the only piece of your drawing. So be patient in designing each individual tuft, and focus on this idea that by introducing fur along the silhouette of the form, you're extending that silhouette shape - and therefore creating new enclosed shapes as well.

Lastly, looking at your hybrid, I'm pretty confident that you could have done this far better. Looking at your results, it appears to me that you didn't adhere as closely or study as carefully the references you were working off, and as a result a lot of elements ended up getting vastly oversimplified.

When we break things down into simple forms, as you did quite well throughout the lesson, those forms can be manipulated for whatever we require. If a leg isn't quite in the right position, we can leverage our understanding of 3D space to take what we've understood of the reference image and move its pieces around. That doesn't mean we stop relying on our reference, because it is our source of information - instead we introduce an additional step where we transform that information. This is precisely what we leverage when working on the hybrids. In order to get our animals to fit together, we adjust the components here and there, integrating them seamlessly.

I recommend you give that some more practice on your own, but don't let yourself get caught up in the drawing. Make sure you're investing lots of time in studying your reference, and I feel you will impress yourself in how much better it turns out.

All in all, your work is still very well done. So, I'll go ahead and mark this lesson as complete.