Starting with the organic intersections, there are a couple suggestions/reminders I want to offer:

• Firstly, try to avoid the "mother ship" arrangement - instead of making one big one and a bunch of smaller ones, try to keep all the sausage forms the same size. This will allow for more useful exploration of their interactions in space.

• Work bottom up - meaning, always add a new one to the top of the stack, don't try to sneak one underneath. After all, the way you draw a given sausage is going to take those underneath into consideration, so it can realistically wrap around them and abide by gravity correctly. If you try to add one underneath, then there isn't really any way to change the silhouette of the top one to respond to it, since it has already been defined.

Moving onto your animal constructions, there are areas of strength and areas of weakness, but overall I think you are moving in the right direction. One thing that stands out in particular is that where a lot of students kind of slap on their additional masses more like random blobs, you're definitely showing a greater awareness of how they wrap around the underlying structure. It can still be improved, but it's definitely a sign that you're absorbing the material fairly well.

So the first thing I'm going to point out is how those things can be improved, despite already moving in the right direction with it. On this donkey drawing I've pointed out a number of changes:

• First and foremost, while you're definitely thinking about how your forms wrap around the structure they're being attached to, when your forms get particularly small, I can see those silhouettes being drawn a little more vaguely, rather than being designed with as much intent as the bigger ones. Even though a mass is going to be small, try your best to think about how it's actually wrapping around the structure and work in individual, purposeful marks. 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.

• Similarly, be mindful of where your forms overlap one another. I think you are thinking about this to a point, but those overlaps appear more timid, like you're not entirely sure so you kind of hedge your bets. Choose a course of action, then commit to it whole heartedly.

• Towards the back hip, you blocked in a nice big mass that connects to the leg. There's an excellent opportunity to wrap the mass along the buttocks around it, to create a sort of "puzzle" of pieces that fit solidly together. We can achieve that towards the front as well, at the shoulder.

Not related to additional masses, but I did notice that in the muzzle, you cut back into the silhouette of the box you started with. I called this sort of thing out in my critique of your lesson 4 work - make sure you avoid it, because it does flatten out the result. When working on organic construction, always work additively.

Before I move on from this donkey construction, I do want to point out one last important point - the actual positioning of the donkey's legs appears to be quite different from the reference image (specifically for the legs on the opposite side of the body). This suggests that you're not necessarily investing as much time as you should in the direct observation and study of your reference image. If it's occurring in those less significant areas, it's likely happening elsewhere - make sure you're investing the vast majority of your time on observation rather than drawing. That's how we determine the specific nature of how these things should be drawn.

The last point I wanted to call out is the head construction. This explanation from the informal demos page covers the most up-to-date strategy I want students to use for their animal head constructions. Eventually I'll swap out the demos to approach it in this manner, but since I'm working my way through overhauling Lesson 1, it'll be a while before I get to this point. That said, the explanation explains how to approach the eye sockets as the first move in taking the rounded surface of the cranial ball and break it down into a series of planes.

Aside from the eye socket, the other point to take away from that explanation is the importance of keeping all the components of the head wedged together, like pieces of a puzzle. You generally draw the components so they float loosely, which keeps the structure from feeling grounded and solid.

Now, I've shared a number of things for you to address, so I'm going to assign some revisions below and give you the opportunity to apply the points I've raised.