Overall I think you've got a really solid grasp of form and construction, and you apply it very effectively throughout this lesson. There are a few things however that I'm going to call out, some issues that aren't present all over necessarily, but that should be brought to your attention in order to ensure you understand why they're wrong, or at least not ideal.

First off, looking at your organic intersections, I think you're definitely succeeding at wrapping the forms around one another in a believable fashion, though I do feel that the second page was considerably more successful than the first, in that the second maintained the volumes of the sausage forms, where as the first seemed to let them flatten out much more. Also, across both, (and this may simply be because of the tool itself), your shadow shapes are pretty rough. You may want to pick up a brush pen that makes marks that are somewhat easier to control, and generally more consistent. When drawing the shadow shapes, outline them first with your fineliner, then use the brush pen to fill in the space. Lastly, I do think you need to think more about how those shadow shapes actually wrap around the underlying sausage forms' surfaces - right now you've got some that seem to cut across rather than wrapping around.

Next! Don't try and cram too much into one page. Drawing smaller impacts how we actually approach our drawings - because it effectively makes our pen tips larger in relation to the overall drawing, it can make our linework clumsier. Either we simply draw with thicker lines, or we end up being much daintier with our linework, spending some of our cognitive capacity on keeping a very light touch instead of drawing each mark as confidently as we can. Alternatively you could work at a bigger page size, but I think just limiting yourself to 1-2 drawings per page is better.

Honestly, that said, you still managed to draw your animal constructions quite well, even when cramming 3 to a page - it's just not an ideal situation, and there's no need to put additional pressure on yourself where it's not actually going to benefit you.

Another issue I noticed is that you aren't applying the sausage technique consistently to construct your legs, and as such you end up with some legs that tend to look flatter than they could. For example, these red pandas have legs that flow pretty nicely, because they look more like flatter shapes rather than actual solid forms. Using that sausage method will allow you to maintain the sense of flow, while also making the forms feel just as solid as the rest of your construction.

This one is better, as the approach is definitely closer (in some places) to the sausage method, but your choices have actually resulted in leg segments that are somewhat more stiff because you didn't use the kinds of simple sausage forms the diagram describes (which, due to maintaining a consistent width throughout their length, convey a sense of flow and gesture). Looking here you've got some more simple sausage forms than before, but you're not reinforcing the joints between those forms with contour lines as directed. Overall, you're still pretty good at demonstrating the relationships between your forms but you're still approaching it all in the "kiwi" way, instead of focusing on exactly what the instructions and demonstrations show and doing that. Remember that the goal here is still to learn from the exercise, not to demonstrate what you already know.

Adding to that, remember that if the leg doesn't look like a bunch of simple sausage forms, that's fine - you can always bulk the forms up by adding additional masses to them as shown here.

The last thing I wanted to mention was that when adding additional forms, always think about how they're going to wrap around the underlying structure. You're usually doing a good job of this. but there are cases (like this zebra's belly mass) where they end up drawn more as a shape that's been pasted onto the construction, only to come in with contour lines afterwards to try and figure things out. It's important that when you place the additional mass, you actually consider how that silhouette needs to be shaped in order to reflect its interaction with the underlying structure. The mass directly in front of that zebra's front legs, at the base of its neck, is far better - it actually comes around the base of the neck, and establishes a clearer relationship with it.

So, I've touched on a number of things for you to keep in mind when drawing animals and other creatures in the future. That said, you're still doing a great job when it comes to construction as a whole, so keep up the good work, and consider this lesson complete.