Hello Alexey_umnov, thank you for replying with your revisions.

These are much, better, good work. I can see you've taken much more care to build your constructions using complete 3D forms instead of one-off lines or partial shapes, nicely done.

I think sometimes you accidentally cut inside the silhouette of a form you have already drawn where there is a gap between passes of an ellipse. We can see this on your squirrel where you had established a ball for the rib cage, and then went back to "pick" which of your (2D) ellipse's lines would constitute the edge of the (3D) ball form's silhouette. By picking the internal line, you left the section I highlighted in red outside of its bounds, leaving it to float out there arbitrarily. In future it will help maintain the 3D illusion of your construction if you pick the outer line of your ellipses as the silhouette of your forms, that way any stray lines will be contained inside your construction, and be less likely to remind the viewer that they are looking at lines on a flat piece of paper.

Something else I spotted on your squirrel, is the tail isn't as well constructed as most of the rest of your work. Remember that at each stage of your construction, you are making decisions, which you should stick to for each subsequent step. I can see you established a central flow line for the tail. When you add the sides of the tail, they should connect to the tip of your flow line, to maintain a specific relationship between each stage of the construction, rather than leaving an arbitrary gap between the flow line and the tip of the tail. I also saw that you cut off a piece of the tail where it passes behind the rib cage. It will help you gain a better understanding of the 3D space you're trying to create if you draw each form in its entirety instead of allowing them to get cut off where they pass behind something else. The object doesn't cease to exist just because it is overlapped by another structure, always think like you have X-ray vision when working on these constructional exercises and "draw through" your forms wherever possible.

I can see that you've really dug deep into the use of additional masses on your constructions here, and that you're thinking about how all these forms connect together in 3D space with specific relationships. Something I'd like you to take into consideration when practising these constructional exercises in future, is that complexity in your additional masses should occur in direct response to the underlying structures. Sometimes you'll design a mass with a sharp corner where there is nothing present in your construction to cause such a dramatic change in the silhouette of your additional mass. I've pointed out a specific example here, and here is a diagram from Uncomfortable explaining the same concept.

Anyway, you're doing a good job, so I'll go ahead and mark this lesson as complete. Feel free to move on to the 250 cylinder challenge, which is a prerequisite for lesson 6.