Before I get into critiquing your revisions, I wanted to talk about the last paragraph. The most important thing you can keep in mind is the fact that every one of these drawings are nothing more than exercises. You are not here to impress anyone. Not me, not others, and not yourself. The work you're producing in this course is not going to be put up on a fridge or celebrated in any way. It's just an exercise, similarly to how those who play sports run drills to develop their core skills.

Remember this above all else: the actions you take - whether you choose to do a bunch of "drafts" (contrary to the instructions about grinding from Lesson 0), or whether you choose to start over because you made a couple mistakes, these are all within your control, because you're the one choosing to do them. Similarly, you can choose not to do any of those things, and to instead follow, as strictly as you can, the core principles set out by the course. Following external directives (for example, those from the course) is often easier because it takes the choice out of your hands, as long as you're willing to put that trust in something outside of yourself. Currently, you are not doing so.

Consider this - the time you put into those 15-20 drafts (amounting to about 150 minutes or 2.5 hours if we take the minimum of each estimate), is time that could be put towards the single constructional drawing, along with observing your reference carefully and frequently, going back over the feedback I provided in my last critique, and so on. It's entirely natural for students to struggle when it comes to figuring out how to invest more time into their drawings, but when you use that time to instead invest in other (draft) drawings, that time is not being spent on this one.

Going over your revisions, there are a number of things I noticed:

• I noticed in particular on your sheep drawing that you were definitely making a solid effort to have those additional masses wrap around the existing structure. I do have additional suggestions to keep that moving in the right direction however, and I've marked them out here. Most importantly, when drawing the silhouette of an additional mass, remember that corners and inward curves are forms of complexity, and complexity can only exist in response to contact being made by the existing forms/structures that are already in place. You should not be putting corners down arbtrarily, without first having the form that causes them defined.

• It's also worth noting that your head construction here is coming along well, with the sheep drawing from the previous point. The following sheep head has its strengths too, though it is somewhat more similar to the other head constructions where you have significant deviations from the head construction demonstration I told you to follow towards the end of my last critique. Using your mouse head as an example, I've drawn directly on top of it to show how the approach from the head construction demo would have been applied here. As you can see here you're missing several critical components - you're not employing the specific eye socket shape from the demonstration, and you're not defining how the muzzle actually connects with the cranial ball.

• The area where you're likely struggling the most right now is in observation. When students make a concerted effort to focus on construction, it's not uncommon for those students to take some of that effort from another area, with the most common I've seen being that those students will spend vastly less time actually looking at their references carefully and most important, frequently. This results in a greater tendency to rely on what they remember, rather than pulling each individual form one by one from their reference, adding it to their construction, then going back to their reference to identify the next. This issue is present most of all in your horse head construction.

• The last two points are going to be somewhat more minor - firstly, try to restrict your areas of solid black to cast shadow shapes only. Meaning, any shape you've got filled in with black should be establishing the relationship between the form casting it as a shadow, and the surface receiving it. Do not fill things in with black to capture local/surface colour, as you did for the mouse's eye, and the horse's nostril. This is simply because, given the restrictive toolset (which has us working strictly in black and white), the viewer is most likely to interpret those filled areas as cast shadows, and when that doesn't match their expectation, in the time it takes them to shift their expectations and process what they're looking at, we lose some of their suspension of disbelief. Always try to lean into those expectations.

• You appear to be drawing the proportions of the ribcage and pelvis incorrectly. As explained here, the ribcage occupies half of the torso, and the pelvis occupies one quarter. This leaves a gap consisting of the quarter of that torso length in between them. You appear to be filling this gap with the ribcage by extending its length.

As a whole, you have definitely improved, and I can most clearly see your efforts paying off when it comes to the use of your additional masses. There are however pretty significant points from my original critique that have been missed in a number of these drawings, and I do believe we need to attack that question of how your time is being spent head on. As such, I am going to assign some additional revisions below.