I do have to say - most of these drawings being rotated makes the critique a fair bit more difficult than it needs to be, so in the future please try and get them to be upright. The odd one being rotated isn't a big deal but if I need to reorient my brain for each and every image to process what I'm looking at, that's going to be a problem.

Starting with your organic intersections, these are largely well done. The forms themselves are piled up in a way that conveys a strong sense of how they're interacting with one another, and a good sense of gravity in how they slump and sag over one another. I have only one issue to point out - your contour lines in some cases tend to be a little too shallow and don't quite wrap around the forms properly. You're close, but it's that last little area where they really need to be hooked around as shown here which should be pushed further. In that link, I talk about 'overshooting' curves - don't be afraid to do that here to get the proper curvature.

Moving onto your animal constructions, there are a number of areas where you're doing a very good job, along with a few issues I'd like to address that should help keep you on the right track.

To start, you've definitely taken to heart in most cases the idea of steadily adding more and more forms to your constructions to build out complexity gradually. I'm glad to see this, as it is at the heart of the constructional approach.

The first issue I am noticing however is that you have a very heavy use of contour lines that doesn't necessarily contribute much to the drawing itself. If we look at your horse at the beginning, for instance, on each and every additional form, you've added at least two, sometimes three contour lines. The thing about contour lines is that they tend to suffer from diminishing returns. That is to say, the first contour line may contribute a lot to making the form itself feel three dimensional. The second will likely do far less. The third, and onward, will contribute next to nothing.

To this point, we need to always be aware of the specific purpose of the marks we're drawing. When going through the initial planning phase of the ghosting method, weigh exactly what task you want your mark to accomplish, and think about whether or not another mark may already be doing it, or if a different mark may do it better. Only draw the marks that you feel will actually make a difference.

Secondly, remember that contour lines are all about capturing the impression that a line runs along the surface of a given form. This concept is actually really emphasized by the additional forms we add to our constructions, as these forms will themselves wrap around the underlying structure. That in and of itself helps a great deal to establish how those forms exist together in 3D space, because it creates a three dimensional relationship between them. I feel that in your drawings, you tended to draw the additional forms with less emphasis on how that form itself would, through its silhouette, wrap around the structure beneath it, in favour of adding contour lines afterwards. The downside here is that while contour lines can emphasize how a form is itself three dimensional, these kinds of contour lines (which run along the surface of a single form) don't actually tell us about the relationships between different forms - they'll make a form feel three dimensional on its own, but won't integrate it into the rest of the structure.

This brings us to my last point on this topic. There are absolutely contour lines that do achieve this - that is, contour lines that establish the relationship between forms - and they are extremely effective in doing so, so much so that they often make the more basic contour lines irrelevant. These are the ones that define an intersection between forms - for example, those that we draw at the joint between our leg segments when applying the sausage method.

So! Long story short:

• Don't overuse contour lines - just because they're a technique you can use does not mean you should be using them willy-nilly.

• Focus on how masses actually intersect with one another and how they wrap around each other. Consider this second one as you're actually drawing the silhouette of a given additional mass, not after it's been drawn.

• Also as a side note, when you've got additional masses, try and integrate them against one another. You do this in some cases, but in others like your hybrid, you leave small gaps between forms (like the masses along the back and the big shoulder/hip masses).

The second issue I want to address has to do with what you are and aren't allowed to do when applying constructional drawing. We all know that we're just drawing lines on a flat page. You know that, I know that, the viewer knows that. But what we're doing is setting up an illusion that, with the cooperation of the viewer's tenuous suspension of disbelief, will convince the viewer (and ultimately ourselves) that what we're drawing is a solid, three dimensional object in a 3D space. In order to maintain that, we have to abide by specific restrictions.

Most of all, we need to constantly reinforce the idea that the forms we're adding to our construction exist in 3D space, as 3D forms. Any instance in which we interact with these forms as though they're just 2D shapes will undermine that premise and break the viewer's suspension of disbelief. One such case is where one cuts back into the 2D silhouette of a form they've constructed. We see this in these two pages of your constructions. We also see one small spot along the hybrid's back where you actually extended the silhouette of your forms to bridge the gap between two additional masses - this sort of bridging should always be done using another additional form, which in and of itself is something that takes place in three dimensions, rather than by editing the 2D elements of the drawing.

Also worth pointing out that you seem to have forgotten to apply the sausage method to the legs of the wolf on the left.

All in all, I've pointed out a number of things for you to think about, so we'll leave it at that for now. I'm going to assign some additional pages for you to complete to demonstrate your understanding of this material, and we'll assess the results when you have them.