Alrighty! Starting with your organic intersections, you've done a great job here - you've established the manner in which those forms interact with one another in 3D space, how they slump and sag under the force of gravity, and how they cast their shadows on a variety of uneven surfaces.

Moving onto your animal constructions, your work here is in a lot of ways very good - but there are definitely cases where you deviate from what we're looking to do specifically in this course. What we're doing here makes each individual drawing an exercise, and the specific manner in which we approach building out each one is critical to whether that exercise is being fulfilled correctly, and whether we're achieving the intended goals. While it's easy to get a little caught up in doing what you can to make that end result as visually pleasing and engaging as possible, in this case that isn't wholly relevant to what we're after.

Now I will say this - throughout these drawings you're demonstrationg exceptionally strong observational skills, and your capacity for capturing how the animals are not only present and solid, but actually how they're moving as living creatures, is very well developed. Even beyond that, you're also demonstrating very strong spatial reasoning skills, as shown by how your drawings themselves feel quite solid and three dimensional. But again - the goal here is to make sure that you understand how to perform the exercise, which is designed to help students continue to push those spatial reasoning skills forward, rather than to have you demonstrate your proficiency as it is now.

So, jumping right into it, I've written out some notes directly on this page of bulls. There are three main points I address there, and I'll list them below (but you'll have to read them right on the page):

• You're building up your drawings through a lot of separate strokes, instead of individual, 3D forms. This means that you're working primarily in 2D space (drawing what you see) rather than thinking through how they occupy 3D space, and building them up in the 3D space of your construction.

• Your linework tends to be kind of scratchy/haphazard at times, in ways that suggest that you're not using the ghosting method consistently, and are frequently just jumping right into the execution phase, not putting enough time into the planning/preparation phases. The ghosting method focuses heavily on planning things out first, so that we do not draw without thinking things through.

• Remember that as discussed back in Lesson 1, you should be drawing through each ellipse you freehand in this course two full times before lifting your pen.

Now, there I picked specifically at your bulls because I felt they were good examples of where you were deviating most from the lesson. There are other drawings that followed it more closely. These tigers show more conscious use of additional masses (building up along the backs and shoulders for example), though they still do have some issues where you're jumping back and forth between working in 3D space (as you design those additional masses' silhouettes and wrap them around the existing structure) and in 2D space (where you add bulk to the legs with one-off strokes intended to adjust the silhouette of the existing structure, rather than building on top of it with complete, new 3D masses).

It's also worth mentioning that you seem to have employed a lot of different strategies for capturing your animals' legs. It's not uncommon for students to be aware of the sausage method as introduced here in the previous lesson, but to decide that the legs they're looking at don't actually seem to look like a chain of sausages, so they use some other strategy.

The key to keep in mind here is that the sausage method is not about capturing the legs precisely as they are - it is about laying in a base structure or armature that captures both the solidity and the gestural flow of a limb in equal measure, where the majority of other techniques lean too far to one side, either looking solid and stiff or gestural but flat.

Once in place, we can then build on top of this base structure with more additional forms as shown here, here, in this ant leg, and even here in the context of a dog's leg - though I'm pretty sure I shared those diagrams with you previously.

Now basically everything I've called out is completely a matter of approach. I am extremely confident in your skills, I just need to see you applying these specific approaches as I've laid out here, so I can be equally confident in the fact that you understand how to use these kinds of exercises to continue pushing your constructions in the right direction. As I mentioned, there are definitely drawings where you get pretty close (the tigers, these horses, etc.) but I am going to assign some minimal revisions below so you can show all of the different pieces coming together more consistently.

Here are the main things I want you to be mindful of:

• Always work in 3D space. Every new thing you add to a construction is its own 3D structure. That doesn't mean they have to be drawn in one go - you can use multiple strokes to define a single mass, but they all need to be consciously working together towards the goal.

• Use the sausage method when constructing your animals' legs.

• Your observational skills are excellent - just make sure that you're investing time into understanding how the forms you identify exist in 3D space, so you can build them back up using construction, rather than purely observing and transferring what you've seen to the 2D page.

• I didn't explicitly call this out, but apply this head construction approach as much as possible to your animals' heads.

• For the revisions assigned below, leave out detail/texture and focus entirely on pushing construction as far as you can.