As a whole, you've done pretty well, although there are a number of things I can still call out to help you continue to move and develop in the right direction.

Starting with your organic intersections, overall you're handling these well - you're clearly thinking about how the forms interact with one another in 3D space, under the weight of gravity - but I do have a couple quick things to suggest:

• Firstly, try to avoid the impression that these sausage forms are really soft and putty-like. They should be flexible, and thus willing to bend, but with a single consistent arch over the entirety of their body, rather than a more malleable impression where it's trying to squeeze into any gaps beneath it.

• Only ever build upwards with this exercise - I can see that on the left and right of both pages, you appear to have tried to add additional forms to fill out the page. I can understand your motivation behind this, and you didn't really do anything especially wrong (specifically in that you didn't try to tuck any masses underneath the existing sausages, which is specifically what I want students to avoid, since it is impossible to make forms that have already been drawn then respond to the new ones beneath them), but there really isn't any benefit as far as the purpose of the exercise goes to adding forms there. Instead, always focus on building on top of the pile, always thinking about how gravity engages with these forms. Also, be sure to draw each sausage in its entirety rather than having them get cut off.

Continuing onto your animal constructions, you're definitely working quite hard to work through each of these drawings as an exercise - that is, treating each one as a three dimensional puzzle, and focusing on how the different forms you're introducing to the structure interact with what's already there. I have however identified a number of areas where I think we can adjust your understanding and focus your later practice:

• One thing I noticed here and there was that either when adding line weight or fur to the silhouettes of your structure, I caught some cases where you'd allow the marks you were adding to jump from one form's silhouette to another. I've called out a few such cases on this wolf drawing. These may seem small, but what they're actually doing is adding a little flat shape to these forms' silhouettes - effectively operating in 2 dimensions rather than 3, in the manner discussed back in my critique of your Lesson 4 work. Now this can very easily occur when we apply line weight to the entirety of our construction, rather than form by form - that is, basically applying line weight such that it jumps from the silhouette of one form to another, which is what you're doing here, with those little shapes coming up when you make those jumps. Now, there is another reason this should be avoided - it tends to soften and dilute any actual form definition we may have already added (kind of like pulling a sock over a muscular arm, it softens everything out). Instead, apply line weight only to clarify how one form overlaps another, by focusing it specifically on where that overlap occurs. This will avoid needless tracing over linework, and will also help you avoid applying line weight in such a way that it causes problems.

• Also, keep in mind that your drawing should all be done with the same 0.5mm fineliner. The only circumstance in which you're allowed to switch pens is if you need something thicker, or a brush pen, for cast shadow shapes. Though in such cases, it's still best to design the outline of your intended shape with your 0.5mm fineliner.

• I'm noticing a variety of approaches being used when you construct your animals' heads. While there are a number of different approaches demonstrated throughout the lesson (it's an inevitable part of how this course has developed, evolving over the years, and thus requiring different approaches that prioritized certain concepts to be introduced, but never fully invalidating the previous ones), as explained here at the top of the tiger head demo, the main one we want to be following is the demonstration available on the informal demos page. Regardless, what all of the different approaches shared in the lesson do agree upon is that as much as possible, we want to have all of the different components of the head - the eye socket, the muzzle, etc - fit and wedge together firmly to create a sort of solid 3D puzzle. You hold to this in some cases, like this wolf where the eye socket is firmly wedged against the muzzle, but in others (like this elephant, you have more of a floating eye socket. Always try to match the specific approach detailed in the informal head construction demo, applying those steps as closely as you can (even when it requires some stretching to get it to fit whatever head you're following). Here's an example I did recently of a particularly banana-headed rhino that looked like it wouldn't fit with that process, but ultimately did.

• As a side note, when it comes to drawing your actual eyes, it helps a fair bit to draw the separate lids as their own individual additional masses, as shown here. And of course, get used to drawing your eyeballs bigger - as you'll see in my demos, there's far more to them than just what's visible between the lids.

• Moving onto your additional masses, I can see some cases where you're designing their silhouettes fairly well, such that they wrap around the existing structure. For example, the mass along this horse's backside shows clear inward curves as it wraps around or presses against existing structures, and simpler outward curves where it isn't touching anything. Even here, however, it could be pushed further, simply to exaggerate how the mass wraps around the hip/thigh area of the leg. Then in some other cases, like in this wolf, you don't commit as much to those inward curves, and end up with more of a shape that feels pasted on top in two dimensions. 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.

• The last thing I wanted to mention for now is feet. Right now you're drawing the entire foot and all the toes at once, jumping right into something far more complex than you should be. Here on this other student's work, you can see how I've demonstrated the way in which you can build up those feet as boxy forms - first a box for the main foot structure, then others for each toe. By "boxy" what I really mean is that the specific corners in that silhouette work to imply the presence of separate faces - a front face, a side face, a top face, etc. whereas random blobs just end up reading as flat shapes.

Before I mark this lesson as complete, I'm going to assign a few more as revision below. I think you're moving in the right direction as a whole, but I would like to see you apply the points I've raised here.