Posting the stuff to imgur publicly isn't a problem for me, although I have in the past gotten an email from someone complaining that it "messes with their meme flow". You do you though.

Anyway, as a whole I think you've done a fairly good job. You've definitely taken the idea that every drawing in this course is an exercise, to explore the relationships between forms in 3D space, to heart, and so while each individual drawing can appear cluttered, much of that comes from the fact that the focus is not on creating pretty pictures.

That said, you do have some areas where things legitimately do get messy due to your deviation from some core principles from the course - for example, you're going back over a lot of lines here in these foot studies. Remember: use the ghosting method, commit to your lines, and do not go back over them. Every single mark you put down is one you control, it is the manifestation of a decision you've made. Once it's on the page, accept it as such, and move on.

While I'd normally leave the hybrid for last, it did stand out to me specifically because I don't really think you used direct reference for it. I could be wrong, but based on how it all came out, it looks like you were trying to use the information you derived from studying the animals throughout the lesson, and tried to apply them more from memory. While that is something you'll be able to do eventually, it's a muuuch more demanding task that requires a lot more practice and familiarity with animals and 3D space in general. For now, that exercise is really just about taking pieces from reference and mushing them together, using those reference images to inform your choices.

Moving onto the main meat of the lesson, let's break it down into three distinct sections: head construction, use of additional masses, and leg construction.

For your head construction, you kinda waffle back and forth in your approaches, sometimes employing the principles explained in the informal demos page, but sometimes - like in your horse heads - deviating from it quite considerably. It's important to discuss, then, why that approach is recommended, and what your horse heads end up lacking from having not used it.

Looking at this horse, the first thing that stands out is that there's no defined relationship in 3D space between the horse's muzzle, and its initial cranial ball. It seems to be an extension that you drew without establishing a fully enclosed 3D form. It does still read as being 3D, because you were mindful of separating it into planes, which worked fairly well, but a lot of that illusion of form is concentrated along the end of the muzzle, with the upper/rear part of the head not really feeling quite as solid.

As you can see here, it doesn't stop you from building on top of the structure, but this approach still lays down a solid foundation for constructing any head - even a horse's.

Now there are definitely other areas where you deviate even further, falling more into drawing from observation rather than building up your constructions. This may be out of a desire to avoid messiness, but the messiness doesn't come from these kinds of constructional approaches. It comes from being erratic with your linework.

Before we look at the next section, I wanted to talk about your horse muzzle study. There are a few issues:

• First and foremost, ease up on the contour lines. When you pile them on like this, they don't really make much of a difference compared to just having a couple - but instead, what it does suggest is that you're probably approaching your construction in a way that breaks away from the core principles of the course - starting with forms that have way more complex silhouettes without the appropriate underlying structure to support them. Because they don't stand on their own, you end up tempted to just pile on the contour lines to "fix" them - but the underlying issue still remains. Start simple, and build your way up.

• Because you did a focused study of just this section, you didn't start with the usual head construction foundation. It would have been far better to draw the whole head, and then pay special attention to this area once that structure was in place.

Moving onto the use of additional masses, there are a lot of places where you've used your additional masses really well, and others where you just kind of slap a blob onto a structure and hope for the best.

Here on this elephant I've pointed out a few. It basically comes down to how the silhouette of your additional mass is designed. We want ot to feel as though the mass is really "gripping" the existing structure, so it integrates with it in a way that feels solid and believable. Just slapping on a vague shape doesn't work - so there are clearly times when you think more about how to shape those silhouettes, and others where you might not be as attentive. Still, there is a bit of a science to how to think about designing them.

One thing that helps with the shape here is to think about how the mass would behave when existing first in the void of empty space, on its own. It all comes down to the silhouette of the mass - here, with nothing else to touch it, our mass would exist like a soft ball of meat or clay, made up only of outward curves. A simple circle for a silhouette.

Then, as it presses against an existing structure, the silhouette starts to get more complex. It forms inward curves wherever it makes contact, responding directly to the forms that are present. The silhouette is never random, of course - always changing in response to clear, defined structure. You can see this demonstrated in this diagram.

Lastly, leg construction. Here, your work is coming along quite nicely. You're employing the sausage method in most cases, and are building on top of it to add bulk where it's needed, creating fairly solid structures - albeit those additional masses aren't always designed as well as they could be, as mentioned in the previous section. Still, the process is applied correctly.

There are a couple last things I want to say in regards to how you approach detailing your drawings. Firstly, when you do get into detail, I still feel that you're falling into the trap of thinking in terms of decoration rather than actually working towards communicating information to the viewer. For example, looking at this bear, there's no benefit gained from adding so much noisy texture to its nose. There are also several places where you've employed form shading like this bear's underbelly, instead of sticking strictly to cast shadows only for your filled areas of solid black.

And when it comes to fur, there is definitely a tendency to overdo it, focusing more on the quantity of tufts rather than how you actually design each one. As explained here, just like the additional masses, the way in which those tufts are designed is what is important - not how many there are. You can get across the impression that something is furry with just a few if need be, but ultimately they have to be designed in a way that keeps them from feeling repetitive and careless. Slow down, and focus on making decisions - don't let your arm go into auto-pilot, because it won't do a good job.

All in all, I still consider this lesson fairly well done, even though you have a great many things to continue working on. I'll leave you to develop them on your own. You can consider this lesson complete.