Starting with your organic intersections, these are looking really good, as you're capturing a strong sense of how they rest against one another in 3D space, and your cast shadows are consistent. I am noticing however that you're drawing some of your earlier lines more faintly, and then appear to go back over them afterwards. Remember that line weight itself isn't meant to more generally reinforce silhouettes, but rather it's a tool specifically for clarifying how specific forms overlap. We add weight in specific, localized areas, but not to long stretches of line because we ant to avoid "tracing" back over our linework. Tracing tends to make us focus too much on how those lines exist on the flat page, rather than how they represent edges moving through 3D space.

Continuing onto your animal constructions, you've got a variety of results, with some weaker and others stronger, but there are a number of key issues I can see that we're going to address. This should help you improve your overall understanding of how to approach these drawings in a constructional manner, and should yield significant growth.

The first issue is an important one, and it is actually one I spent a fair bit talking about in regards to your lesson 4 work: you're still, in various places, cutting back across the silhouettes of your earlier masses, rather than respecting them as solid, three dimensional forms. So for example, as shown in this bird, you drew a darker line right through the chest area of your original torso mass. I assume this is because you noticed that your reference image followed a somewhat different shape than your drawing. As shown in this diagram (I shared a similar diagram with you before, but this is a newer version that may be more clear), cutting back across the silhouette of a form doesn't change the form as it exists in 3D space. It merely breaks the connection between them, leaving us with a flat shape on the page.

Now, this does come up fairly often, in little ways. Often when you draw your animals' heads, you'll change your mind and cut back across the original mass for whatever reason. Don't do that. I cannot stress this enough. Every single interaction with our constructions must be through the addition of new, complete, enclosed, 3D forms.

Moving onto the next point, you appear to have a pretty strong tendency to make your horses quite long. This does improve when you hit the deer, but the same core underlying problem persists. As explained here the ribcage should occupy 1/2 of the length of your animal's torso. You're drawing it very small instead, and as such you don't really have the same kinds of landmarks on which to help build out your structure in a proportionally accurate manner. The ribcage takes up half the torso, the pelvis takes up a quarter, leaving just another quarter in between.

Continuing on, I can see that as you move forwards through the set, you try to make greater use of the additional masses. This is definitely good, but the way in which you actually use them can be improved. Right now, you basically draw a fairly straightforward, simple blob on the existing structure, and then you add some contour lines to make it feel more solid.

The thing about contour lines is that they do a great job of making our forms feel more 3D, but they only do so in isolation. They don't tell us anything about how this form relates to the existing structure to which it's being attached, so the viewer isn't really given a strong grasp of how all of these pieces fit together. Contour lines was definitely a good guess in terms of what tool to use here, but it unfortunately isn't the right one.

Instead, it all falls on the specific way in which we design the additional masses themselves. Paying attention to how the silhouette of the mass actually wraps around the existing structure is what will allow us to make the form feel 3D, while defining its relationship with the rest of the forms that are present, as shown here.

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.

As you can see in what I drew over your deer, this can, and should also be used when building up more complexity around the sausage structure of the leg. There you're doing a good job of working with simple sausage forms, though you appear to be forgetting to define the joint between those segments as shown in the middle of this diagram.

Furthermore, as we build upon that structure, we do so as mentioned before - with complete, enclosed, 3D forms that wrap around the existing structure, designing their silhouettes so they believably "grip" onto it, as shown here and here. I believe these were shared with you in my critique of your lesson 4 work.

Before I finish off this critique, one last thing - give this explanation from the informal demos page about head construciton a read, and apply it to all of your future animal drawings.

So! I've shared with you a number of things, and you do have a fair bit to work on. You are definitely moving in the right direction however, and I feel that your overall grasp of form and construction does improve in a number of ways across the set. These points I've raised are incredibly important however, specifically for the purposes of this course, and how each and every drawing is an exercise in spatial reasoning. That means it's not about achieving a nice drawing in the end, but rather that we go through the steps to continue developing our brain's spatial reasoning skills. It's all about pushing our brain to resolve the relationships between 3D forms. To do that, we must work in 3D as much as possible.

I'm going to assign a few additional pages of revisions below. Do your best to apply what I've shared with you here.