Your work throughout this lesson is, by and large, very well done. You should be quite proud of what you've achieved here, as I can see significant improvement, and overall a lot more confidence/comfort here than before (and you weren't doing particularly badly before, just had a number of things to keep in mind).

Jumping right in, your organic intersections are very well done. You're doing a great job of establishing the relationships between these forms as they sag and slump over one another in 3D space, under the force of gravity. You're also applying the cast shadows well, doing so in a consistent manner, and emphasizing those spatial relationships.

Continuing onto your animal constructions, I'm very pleased to see that you are, most of all, thinking a lot about how your forms fit together, how one new additional wraps around the existing structure, and how every element you add exists as a solid, three dimensional element in the world, rather than just a partial shape or individual mark on the flat page. That said, there are a few things I can call out to your attention to help you continue applying these exercises as effectively as possible.

Firstly, let's look at how you're handling part of your additional masses, specifically in terms of their silhouettes' designed, as you wrap them around existing structures. As I've called out here, we cannot place arbitrary corners on our masses' silhouettes - instead, those corners (which are a form of complexity, just like inward curves) that occur only in response to contact with an exsting structure. In some cases we simply can't use them, so we use the sort of smoother, S curve transition shown in my little example on your page.

I can see examples of these arbitrary corners across many of your animals, though you tend to do it more when building upon the skinnier sausage structures for legs in cases like this capuchin monkey. You can refer back to the ant leg demo from my previous critique for more resources on how to build your forms up here, as well as this one.

In some cases however, we can take advantage of the fact that all quadrupedal animals have a lot of muscle built up around their shoulders and hips, which help drive their limbs as they walk. It's not always obvious, but if you know to look for it, you can often find signs of such muscles, which in turn can be represented as a simple ball mass against the body. Other additional masses can then wrap around it, creating a more integrated impression, like that of a 3D puzzle with all the different masses fitting together.

Continuing on, I can see that you're employing several different approaches for head construction, with some that are better than others. Overall, the approach I recommend using (as mentioned here at the top of the tiger head demo) is the head construction explanation on the informal demos page. I go much more in-depth as to why this is the case in this reply to another student's question, but in the future that informal demo's approach will be more thoroughly integrated into the lesson material.

Try to apply that approach - down to the specific pentagonal shape for the eye sockets (which allows for a gap between them for the muzzle, and a flat surface along the top for the forehead), and defining the actual forehead space - as directly as you can to your animals. It won't always fit perfectly, but it's the principle behind it that will help make your head constructions more solid.

Furthermore, when drawing your animals' eyes, one thing that will help you in getting the eye shape itself is to actually build up its upper lid and lower lid as separate additional masses, as shown here.

While these two points do leave a fair bit of room for growth and improvement, I am still very pleased with how your work is coming along, and I feel that these are things you can apply on your own, and do not require further revisions. So, I'll go ahead and mark this lesson as complete - but there's one last thing I want to call out.

In regards to the hybrid, keep in mind that this exercise is primarily focused on taking multiple references and figuring out how to fit them together. In this case, I'm unsure of whether you simply drew from that screenshot (it largely does appear to be that way), or if you used references from the different animals whose parts make up the whole. I just wanted to clarify the way this exercise in particular is meant to be done, so you can be sure to apply it as effectively as possible on your own.