So at first glance, your work is actually really well done, with only a few issues - although upon a closer inspection, those issues actually suggest that you're not 100% understanding what constitutes proper additive construction (where we add a new, complete form onto the existing structure to build upon it) and what is for the most part still just modifying the silhouette of a given form.

Here I've made some notes for you to take a look at. Here, I point out a few things:

• When you add the hump onto the armadillo's back, you're not introducing a new, separate form - you're just taking that edge along its back and raising it up higher. That is very much, directly modifying the silhouette of that form.

• When constructing legs, you do something that is very similar to modifying a form's silhouette - you're engulfing the structures in new silhouettes, completely swallowing them up. Because this does not introduce a new 3D structure with clearly defined relationships with the existing structure (meaning, there's no understanding of how the new stuff is holding onto the existing stuff, at best one is floating inside the other), you are for all intents and purposes just replacing one silhouette with another. In effect, this is the same as modifying the silhouette. I've included there an example of what it looks like to actually build up new structures along the sausages, though there were examples provided that are effectively the same in my critique of your lesson 4 work - specifically the ant leg demo and the dog leg demo.

• Your head construction is coming along pretty well. Just be more mindful of the specific shape of your eye sockets (those used in the informal head demo are designed specifically to create a "wedge" shape for the muzzle to fit into, and a nice flat top across which the brow ridge can sit.

• The tail on your armadillo's approach created a very stiff impression. Building up an underlying structure as you did with the red panda, then building additional masses on top of it, would definitely be preferable. You can see something similar in this dragonfly example.

• Line weight is a bit of an issue here, in that you're using it in a very arbitrary fashion, and seemingly at a variety of stages of your work. Firstly, remember that line weight is a tool with a specific purpose - to clarify the overlaps between forms in specific, localized areas. You can see an example of this here - note how the line weight is only added in the areas where the way in which one leaf is layered on top of the other needs to be made clearer for the viewer. Applying it more liberally can often decrease how much we actually think about its use, and how strategically we apply it. Additionally, line weight should be added towards the end of a construction - prior to that, it's best to draw all your marks so they're roughly even in thickness. This will help you keep from adding weight only to find later on that it results in a misleading impression for the viewer.

In a lot of ways, you are moving in the right direction, and your use of additional masses (where you construct them as complete forms, establishing how they wrap around or intersect with the existing structure) is getting much better - you just need to take more care in applying that in all areas where you build upon your construction, as right now it seems there are instances where you slip up without realizing it.

I'm going to ask for a couple more pages of animal constructions. For each page, do just one drawing, and draw big, being sure to take full advantage of all the room available to you. This generally helps us to push our spatial reasoning skills as far as they can go, whereas working smaller can cause us to get a little more clumsy.