I regret not stressing my point about "take your time" at the end there enough. Given that a little under a day and a half passed between me finishing my critique, and you submitting your revisions, you appear to have managed to get quite a few things done in a pretty limited timeframe:

• Going through my critique, absorbing the information there, reflecting upon how you might change your approach to improve.

• Normal warmup routines.

• Drawing 4 separate complex animal constructions (taking the time to observe them carefully and consistently, thinking through every mark you draw, applying the ghosting method as needed, considering the relationships between all the forms you constructed, etc.)

• Adhering to the 50% rule from Lesson 0

To put it simply, I don't feel that this is an accurate representation of the best you could have accomplished. It's not that the work is badly done overall, it's that they're don't show that much of an improvement over your last set, and overall I'm being given the impression that you jumped right into the drawings instead of taking much time to reflect and think and process. That is unfortunately not how this course should be approached.

I will point out areas that you didn't show much improvement, or where you have issues that need to be addressed, but I will do so briefly:

• The matter I raised in my last critique about considering where our additional masses press up against other forms, and how that is what causes the complexity of inward curves and corners - you still have a tendency to add complexity that has no clear source. Take a look at this diagram. Note how when it's floating on its own, the mass is just a ball, and it only gets more complex when it is pushed against that box. If you look at the masses along the back of this elephant they've got arbitrarily wavy edges with no real explanation as to what is causing that wavy pattern. You need to be more conscious of how you're drawing the silhouettes of those forms.

• Also on the topic of additional forms, adding a contour line to the surface of an additional mass (as you did quite a bit in your last drawing) generally isn't going to help much. Those contour lines help a form look solid on its own, but it won't help define how that form wraps around the structure beneath it. That is the main focus of these additional masses - the way their silhouette is drawn establishes how it really "grips" the structure it's attached to, and if the silhouette isn't drawn correctly, contour lines won't fix that.

• You're pretty consistently drawing the ribcages too small. As discussed in the lesson, the ribcage of animals is generally around 1/2 the length of the torso.

• I can see that when approaching head consturction, you've stopped drawing your eye sockets as basic ellipses and have started using straight lines. That's a step in the right direction, but you still have a ways to go. Take a look at this demo I just added to the informal demos page, and read the accompanying text.

• When using the sausage method, I'm not seeing you defining the joint between sausages with contour lines, as shown in the middle of this diagram.

I'd like you to do 6 pages of animal constructions, and I want you to do no more than one in a given day. Take your time absorbing the information presented to you in the original critique and in this one, as well as thinking through every mark you draw and observing your reference frequently. You can invest far more time into a given drawing than you are right now. The focus is not on getting everything done quickly - it is about learning from the process. This doesn't only occur when actively drawing, it is something our brain works through even in the time between drawing sessions.