Alrighty! So, looking over your work there are a lot of areas where you're moving in the right direction, and you do show a good deal of growth over the set, but there are a number of key issues that I noticed throughout your work that once sorted out, should see you move forward by a considerable margin.

I've pointed out all of the issues directly on this one drawing, and I will address them below in a little more detail. As you can see, they're numbered, so I'll tackle them in order here.

1. Unnecessary Contour Lines

You have a tendency to use a lot of contour lines - specifically the kind that run along the surface of a single form to make it feel solid and three dimensional on its own. Sometimes those contour lines are drawn decently, other times (like the antelope's horns) they're drawn more haphazardly, but either way, in most of these scenarios they're actually not necessary.

It's important that whenever you do draw your contour lines, or any line at all, on the first step of the ghosting method when you're planning out your line you need to ask yourself what the goal of the mark you're going to draw is, and whether or not that task could be performed better (or maybe already has been performed) by another mark already present. When looking at contour lines, we often see a case of diminishing returns. The first contour line we add may help a form feel considerably more 3D. The second may have a lesser impact, just lightly reinforcing the first. And the third, fourth, etc. will contribute virtually nothing. Often students who use contour lines too much do so because they're not actually thinking about what they're trying to achieve with them, and instead add them to their drawing because they feel like that's what they're expected to do.

There are also different kinds of contour lines, some of which are vastly more effective than those that sit along the surface of a single form. Contour lines that define the intersection/connection between two forms not only do an excellent job of making both forms feel three dimensional with minimal linework, but they also establish the relationship between those forms in 3D space, creating a link that we don't get with the standard type of contour line. Often times just focusing on these will make any other contour lines unnecessary, saving you from a lot of additional linework.

2. Adding to the Construction in 2D

Here I've highlighted a number of areas in your drawing where you decided you wanted to add something to the drawing, so you effectively extended the silhouette of another existing form. Most often you did this to bridge the gap between existing forms, like you were stretching a shape across them to smooth things out. This however is an action that is performed strictly in two dimensions, and it ultimately reminds the viewer that what they're looking at is in fact just a flat drawing on a flat page.

Instead, every single way in which we manipulate, alter, or add to our constructions must be done using three dimensional techniques. Usually this means adding a complete, solid form onto the construction, establishing how it relates to the structure that is already present.

This sort of stretching a flat shape over your forms to smooth over their silhouettes is something you do really often, so make sure you stop it altogether. Think of it as though the object you're drawing is something physical and real, something that exists in a 3D world, and you're slapping chunks of meat onto it to help add bulk where it is needed. That meat is solid - it's malleable to a point, but it's still tough, and real. Not just lines on a page.

3. Further Exaggerating how Forms Wrap Around Each Other

So earlier we talked about how the most effective contour lines establish the relationship between two forms in 3D space. The first contour lines we learned about - those that run along the surface of a single form - just focus on wrapping around that one entity in space. It makes that form feel solid and three dimensional, but doesn't establish any relationships with anything else in the scene.

When we're adding additional masses to our construction, we can think of these forms as playing the role of one of these contour lines. We're not just stamping a shape onto the page, with the intent of making it look 3D later. We're taking a form - a chunk of meat, like I mentioned before - and wrapping it around the existing structure, and in doing so we're both making that underlying structure feel three dimensional, but also creating a strong relationship between that structure and the new, additional form. This in turn, when done properly, can make that additional form feel three dimensional without even having to add further contour lines.

You're already doing this to a point - I can see a number of places where you're thinking about how those forms are wrapping around one another, but I think there's a lot of room for improvement in really pushing and exaggerating it further. One thing you'll find when adding an additional form is that it's going to create these sort of "pinches" (which I pointed out in small writing on the antelope's redlining). In your drawing, the pinching is a lot smoother, more gentle. In mine, they're a lot sharper. These pinches are the kinds of things that give a silhouette the impression of having actual muscle to it, like when you look along the complex curves of an animal's torso. Try and think about how you can achieve that by really exaggerating how the masses wrap around the structures beneath them.

4. The Sausage Method

This critique's already getting pretty long, so I'm going to try not to dwell too much. To put it simply, you're not applying the sausage method correctly. Your sausages aren't adhering to the principles of 'simple' sausages (a lot of them are stretched ellipses, for example). You're also not establishing the contour lines at the joints between your segments, so they end up feeling more like flat shapes instead of actual 3D structures.

5. Building On Top of the Sausage Method

I know that the legs of animals rarely look like a simple chain of sausages, but that's fine. What we're doing here is building up a simple structure or armature, onto which we can go on and add further masses to help add bulk where it's necessary, as shown here.

6. Head Construction

Lastly, your head constructions tend to have the different pieces (the eye socket, the muzzle, etc.) floating more loosely to one another. There are a number of demonstrations on the informal demos page which get further into how to think about constructing heads, but the main thing to keep in mind is that they're like a 3D puzzle. All these pieces fit firmly against one another, rather than floating loosely. The eye socket is buttressed by the muzzle, the cheekbone, the brow ridge, etc. All these forms are tightly bound to one another, and this helps break the head down into something that can be made more believably three dimensional. You can see this in the tapir head demo and in the moose head demo.

So! I've covered a lot of points. I know you raised some concerns in your initial critique, but when writing critiques we purposely avoid reading too deeply into the general commentary students sometimes provide because we don't want it to interfere with our own observations. Hopefully your concerns have been answered in the critique, but if they haven't, feel free to ask.

Since there's a number of things here I'd like you to work on, I'm going to assign some additional pages below for you to help incorporate these points.