Starting with your organic intersections, you're generally doing pretty well - though for this exercise, try to stick with one pile per page, rather than breaking them into separate ones. All the same, you're doing a great job of piling the masses up so that they feel consistent under the weight of gravity.

Continuing onto your animal constructions, there's a lot you're doing very well here, although I do have a number of suggestions to offer in how you can employ these techniques more effectively going forward. The first thing we're going to talk about is your additional masses, which break into a few separate points I want to make.

• First off, every mass needs to wrap around whatever makes up the "existing structure". Once a mass has been added, it becomes part of that existing structure, and so any subsequent masses should wrap around it as well. To that effect, avoid things like this where you allow one mass to cut off another.

• Secondly, remember as we discussed in my critique of your Lesson 4 work, you cannot make alterations to your constructions in two dimensions. Everything you add must be a complete, fully self-enclosed form. As shown here, you definitely have a tendency to take shortcuts, adding one-off lines to bridge across multiple forms, rather than ensuring that every new addition is complete and self-enclosed. As a result, we aren't given enough information to understand how these additions exist in 3D space, and how they relate to the existing structure.

• Thirdly, the way in which the masses themselves are designed - the way their silhouettes are shaped - does all the heavy lifting in establishing a clear understanding of how these forms relate to one another in 3D space. 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.

• What this ultimately means is that you need to be entirely cognizant of where you're placing every element of the silhouette - every sharp corner, every rounded corner, every inward curve, every outward curve, and why. Complexity (inward curves/sharp corners) can only occur in direct response to the mass pressing up against another specific form - so these corners on this horse don't have any clear reason for their existence. Alternatively, your masses could be built up like this. Note how I have the masses piling atop one another, and that I'm also extending some of them further down along the side so they can press up against the hip/shoulder masses. This provides us with a reason to have the structure fit together, giving us a more grounded, solid impression.

• You don't do this often, but I wanted to call it out anyway - adding contour lines to the surfaces of your masses (like here) is something students will do on occasion to try and take a mass whose silhouette didn't come out right (resulting in a weaker sense of solidity, due to the relationship with the existing structure not being established correctly). The thing is, adding contour lines doesn't actually solve the problem - but worse, it can convince us that it's an option to "fix" things when the silhouette wasn't drawn correctly, which in turn can make us less likely to invest more time into the design of the mass in the first place. So, those kinds of contour lines are best left aside when it comes to these additional masses.

Continuing on, I did notice that you appear not to have taken the advice I offered in the critique of your Lesson 4 work, in regards to how you're building up your animals' legs. That is to say, you're not applying the sausage method consistently throughout your constructions, and so you're also not applying the use of the additional masses to build out the more nuanced elements of those structures either. I'm not going to dwell on this, since I'd already provided a number of diagrams on this point previously. Instead, I'll just ask that you review the Lesson 4 critique you received before.

The last thing 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.

And that about covers it. Overall you are doing quite well, but there are definitely some points you're not applying from previous feedback you've received. I'm going to ask for a few revisions, but do take your time in reading through the feedback I've given here, as well as the feedback you've received from me before. Give it time to sink in, and review it periodically to make sure you don't forget things.