Overall this submission is certainly moving in the right direction, but there are a key number of areas where certain aspects of your approach can be altered - some of which I have called out already previously.

Starting with your organic intersections, these are coming along fairly well. You're drawing the sausages with consideration for how they slump and sag over one another, conveying a pretty good sense of how gravity is impacting them all as they pile together. One thing I do want to caution you against however is adding sausages under the existing pile, as you did towards the bottom right of the first page. This forces you to try to alter the existing stack so it responds realistically to the new form, which simply isn't achievable once the forms have already been drawn. All you end up with is a weird sense that the new form is cutting into the old one, undermining its structure. Always work from bottom up, dropping each new sausage onto the top of the pile.

Continuing onto your animal constructions, as I mentioned above, overall you're headed in the right direction, but there are a number of areas where you're running into some issues that can be resolved by altering how you think about approaching these complex structures. I'll break them down into a series of topics, each of which I'll address in turn:

• Overuse of contour lines

• Jumping between working in 3D space and 2D space

• The use of additional masses

• Leg construction

• Head construction

To start, let's look at your tendency to overuse contour lines. To put it simply, contour lines are a tool, and it's very easy to just pile them on without actually yielding any further benefit from each new one. We need to actually stop and think about every mark we draw - asking ourselves what we're trying to achieve with it, how we can best draw the mark so it accomplishes that goal, and whether another mark is already accomplishing the task.

The way we first are introduced to contour lines (in lesson 2's organic forms with contour lines exercise) focuses on a case where we can just pile them on, so students can pick up on the concept more easily. In truth though, that context is not a great representation of how to use contour lines. As we pile them on, most of them don't actually contribute much of anything - contour lines suffer from diminishing returns, where the first contour line we add to the surface of a form may have more impact, but as we add more, that benefit quickly drops off. The second has far less impact, and the third even less than that.

Instead, we have to take care to place contour lines where they'll have the most impact, and to take adequate time to execute them to the best of our ability. When we pile them on, there's often a side-effect that we end up drawing them more quickly, without appropriate preparation.

One thing to remember is that everything always comes back to the ghosting method. The ghosting method itself features a robust emphasis on the "planning" phase, which is where all of this consideration occurs. If however we rush right into preparing (via ghosting) and execution, then we end up putting down far more marks than we need to, and perhaps not as well as we could.

Next, let's look at your tendency to jump between working in 2D and 3D. This is something I addressed back in Lesson 4, where we talked about the importance of not trying to alter the forms we've already drawn. When we do so, we're basically trying to alter the drawing, rather than the construction represented on the page.

As seen here, I've marked out one of your lines in green. This line both cuts into (as shown in red) and extends the silhouette (as shown in blue) of the torso sausage. Instead of treating that solid sausage structure as though it actually existed in 3D space, and interacting with it in 3D through the addition of new, complete, fully enclosed 3D structures, you took a shortcut to refine that shape. In doing so, you broke the relationship the shape on the page had with the form it was representing, leaving you only with something flat and two dimensional.

Again - this is something I addressed in detail in my critique of your Lesson 4 work, so I'll leave you to review that explanation and the diagrams provided with it.

Looking at how you employ additional masses to build upon your constructions, I can see some areas where you're especially thoughtful about how masses wrap around the existing structures (like the mass along this weasel's back which does a great job of wrapping around the hip mass and around the torso sausage), and some others where you've slapped down a more general shape without as much consideration to how it wraps around what's already there (like the mass at this donkey's backside). There are enough examples of you considering how the design of a given mass's silhouette wraps around the existing structure that I'm not too concerned.

What I do want you to be more mindful of however, are circumstances where you simply try to accomplish too much with one mass. Along this deer's back for example, you've got one mass that seems to wobble and waver back and forth, stretching from the neck back to the rump. Even the weasel is similar, though its silhouette was designed better and it didn't include as much arbitrary complexity to it.

That's ultimately the issue - when we make these masses too big, they try to fill too many roles all at once, and result in way too much complexity. Instead, these things should be tackled with multiple additional masses, built up one at a time and piling them on top of one another, as shown here. Each mass's scope should be limited.

Continuing on, I noticed that in tackling leg construction you don't appear to be applying the sausage method consistently to produce a base structure. This, again, is another point I called out in Lesson 4. As explained there, the sausage method lays down a basic underlying structure that balances both fluidity and solidity without leaning too hard one way or the other and avoids becoming overly stiff or overly flat. Once in place, we can build upon it by attaching additional masses and structures - but you should be applying that approach to all leg construction.

Again - be sure to go back over my feedback for Lesson 4, and make a more conscious effort towards applying them to your animal constructions.

The last thing I wanted to discuss is head construction. What helps most with this - and it really applies to all construction - is to try to ensure that every element (in this case, the eye sockets, the muzzle, the forehead, etc.) fit and wedge together in an integrated fashion, kind of like a three dimensional puzzle. This is similar to how when constructing the body, we introduce masses at the hip and shoulder so we have something more substantial to integrate other masses against. The more relationships between forms we can define, the more solid everything ultimately appears.

Based on the varied approaches you've used, I feel you may not have looked at the head construction explanation from the informal demos page, which was linked off at the top of the tiger head demo as a sort of "updated" explanation while I gradually work through updating the more formal demos in the course. Note how the eye sockets there are specifically shaped as upturned pentagons, providing a nice wedge shape to fit the muzzle, and a flat surface across the top for the forehead/brow ridge to rest upon.

What you want to avoid are those elements floating loosely and separately from one another. Across your homework, you've got a pretty varied set - from eye sockets that float independently of everything else (as in this bunny - although it seems you were actually just drawing an eye shape rather than an eye socket), and eye sockets that are very loosely touching the other elements (like in this ermine.

In summary, you are certainly working in the direction of grasping how the things you're drawing exist in 3D space, and a lot of your animals do convey a fairly believable illusion that these objects are indeed three dimensional, but as a whole there are a number of ways in which the exercises themselves can serve more effectively as the kinds of 3D puzzles that will more firmly rewire the way in which your brain perceives the world in which your drawings exist. Right now I think you've fallen a little short in terms of applying feedback that was provided previously, and you need to be much more mindful of that in the future.

I'm going to assign some additional pages of revisions below, so you can work on applying the points I've raised here and previously more effectively.