Starting with your organic intersections, your work here is for the most part pretty good, although I just want to mention to things:

• Try to avoid the whole "one mother sausage with lots of baby sausages" layout. Keep them roughly the same size. This way we can explore a wider variety of kinds of interactions between different forms.

• Always aim to stick to simple sausage forms - meaning no pinching through the midsection, avoiding any kind of complexity at all that doesn't result directly from gravity. You weren't too far off from this, but there were a couple that could have been simpler, and would have come off as more solid on their own as a result.

Moving onto your animal constructions, you have some drawings that actually do a pretty good job overall, whereas others where I think you definitely dropped the ball when it comes to observing your reference carefully enough to inform your choices. The weaker ones were actually more towards the end - I wonder if this is because your understanding of construction as a whole started to gain more of your focus, and as a result while there were improvements on that front (like with your use of the additional forms), you ended up putting less attention towards actually looking at your reference regularly, resulting in work being done more from memory (which would inevitably be oversimplified and a little cartoonish).

To start with the stronger examples of observation and general structure, I'm actually very happy with how this wolf came out. While aspects of the construction are certainly a little simpler than they otherwise could be (especially along the legs), the structure that is there is very solid throughout the body.

That's not to say that there aren't a few issues with it however:

• The head construction's fairly weak, in that the various components (the eye socket, the muzzle, etc.) seem to be floating loosely relative to one another. You can get a fairly strong head structure by thinking of it like a 3D puzzle, with pieces that all fit right up against one another. Ideally you'll have the eyesocket buttressed by the muzzle, the cheekbone and the brow ridge, as shown in this tapir head demo and in this moose head demo. The smaller head drawing on the same page as the wolf is also something of an improvement, although fitting the muzzle up against that eyesocket instead of having them overlap would still improve things.

• Your addition of fur was a bit haphazard. In general, avoid any kind of repetitive motion, like zigzagging back and forth to create fur. Instead, you need to be designing each and every tuft intentionally, actually thinking about how every line is intended to flow. I know that this can seem laborious, but putting more time into crafting a few tufts of fur more carefully will yield better results than covering more of your animal's silhouette with jagged, repetitive strokes.

• I'm less concerned with this right now, but the paws are admittedly quite simple - there's a lot more going on with those paws in your reference. Actually crafting the silhouette of those forms to imply the presence of front/top/side faces instead of going for a standard blob there would help a great deal. Think of them more like boxes than sausages.

The head construction was considerably better in this drawing, where I can see much more of that sense of things fitting together, creating the impression of an actual 3D structure. I'm also seeing more complexity to the legs, where you're adding a few additional forms at the joints. As a whole, this one is actually really quite well done.

Again, there are a couple issues:

• Your ribcage is way too small. I see you making this issue quite often. As explained here in the notes, the ribcage ought to occupy roughly half the length of the torso.

• The mass you placed along the deer's back is attempting to accomplish too much, which tends to glaze over a lot of the little bits of nuance we can achieve from various muscle groups piling onto one another. While I can see that you actually started to understand how this works better in your later elephant drawing, I still want to share these notes with you to help hammer out precisely how to think about these additional masses.

As I mentioned before, you've got drawings towards the end that look notably weaker and more simplified, likely because you're focusing more on construction there without spending adequate time consistently observing your reference. This horse is the biggest culprit. There are individual parts of it that are quite interesting - the leg structure, especially along the back is quite nice, for instance. But as a whole it is far below what you're otherwise capable of.

Your turtle and frog were certainly interesting experiments, although it's important to always think about bodies - be they animal, human, whatever - to have to abide by certain rules of biology. If you look at the frog, you'll see how you gave it arms, sure, but the way those arms connect to the body give the impression that they might snap off easily. There's no additional masses established to really keep the shoulder in place, no musculature to help it hold itself up. There is a lot of information present in our reference images, and admittedly with that frog it's not necessarily easy to identify which masses you need to pay attention to. That said, I think here you stopped early because of your uncertainty, rather than taking a swing and trying to push it further (whether your attempt was correct or not).

As a whole I'm not too concerned with your linework. I think there are certainly areas where your linework is a little hesitant, but that goes hand-in-hand with areas where you're showing less confidence overall. Conversely, with the drawings I pointed out as being particularly well done (the wolf, the deer), your linework flows smoothly. This suggests to me that the issue is primarily one of self-confidence, not of technique or capacity. That lines up pretty well with your propensity for self-deprecation, for focusing only on your weaknesses and not paying enough attention to the small victories along the way.

It's a common mistake, and one that students will often make because they feel that being harder on themselves will help them improve faster. Unfortunately it's not true - it is important to be able to identify both what we've done well in our drawings, as well as our areas for improvement. If you only focus on your weaknesses, you're going to burn out and lose confidence, as you did by your own admission. Even in that horse, the weakest drawing of your set, there was still something I could pick out that came out well (the back leg construction). You should be looking at your drawings in the same way.

Frankly, I don't think making little notes about your mistakes is actually helping you, so I recommend that you just leave that out and focus on the drawings themselves. As a whole I am actually happy with your progress, but since the later drawings showed less focus on observation and direct study of your reference, I'd like to see what you can do with the points I've raised in mind.

First, I'd like you to give yourself a short break of a few days. Then I'd like you to do 3 additional animal drawings, limiting yourself to just one per day (though you are welcome to spend more than one day on a single drawing). This is mainly so you don't feel compelled to rush anything. Move through each drawing at your own pace, and focus only on two things: ensuring that you're looking back at your reference almost constantly to refresh your memory, and on building up the construction in successive phases, finding whatever additional form information you can capture from your reference. You'll notice how in this puma demo I hit a technically adequate amount of construction by step 12, with the basic body and the head being fleshed out - but there's still a lot more I can delve into throughout steps 13-15.

Also, for these additional drawings, leave out any texture/detail and focus entirely on construction.