Hello Trevrock, thank you for replying with your revisions.

Don't worry about the length of time between submissions, it will be apparent in your work if anything needs to be redone or not. It is great to hear that you're keeping up with the 50% rule and exploring your painting interests. If you do plan on taking breaks between submissions, it does help if you keep doing warmups reasonably regularly.

Your application of texture is heading in the right direction, though it looks like there are a couple of points from my initial critique which require further explanation.

On all 3 pages you'd taken some actions "in 2D" by extending the silhouettes of existing forms using one-off lines or partial shapes. I've traced over some examples of these on your wasp and filled in the areas that only exist in the flat 2D space of your piece of paper, because there isn't enough information to explain how these additions connect to the existing structures in 3Dspace. Thus, they remind us that we're drawing something flat and two dimensional, and in so doing, this reinforces that fact to you as you construct it. Creating believable, solid, three dimensional constructions despite drawing on a flat page requires us to first and foremost convince ourselves of this illusion, this lie we're telling, as discussed here back in Lesson 2. The more our approach reinforces the illusion, the more we make new marks that reinforce it even further. The more our marks break the illusion, the more marks we make that then further break the illusion, for us and for everyone else.

While in this course we're doing everything very explicitly, it's to create such a solid belief and understanding of how the things we draw exist in 3D space, that when we draw them more loosely with sketching and other less explicit approaches, we can still produce marks that fall in line with the idea that this thing we're drawing exists in 3D. In my initial critique I shared several diagrams and demos to help you to build up your constructions by adding complete 3D forms, so I suggest you go back and take a closer look at those, you may even want to draw them yourself, to get a clearer understanding of what Uncomfortable is doing, and to help you to remember them. I can also share this diagram showing the various types of actions we can take when engaging with a construction, using the context of a sphere, which sometimes helps the concept to click for students. Continuing forward, whenever you want to build or alter an organic construction in this course really push yourself to do so by adding a complete 3D form, as shown in the lower right of the sphere diagram.

Moving on to the topic of leg construction, I'm happy to see that you're sticking closely to sausage forms for your leg armatures, although there are some things I called out previously which still need to be addressed.

• You're cutting some of your forms off where they overlap, turning them into partial shapes and flattening the construction. (I marked 2 examples of this on your wasp above.)

• You appear to be drawing small ellipses on the tips of some of your sausage forms (as was introduced in the organic forms with contour lines exercise) instead of drawing the intersections between your sausage forms (as was introduced in the form intersections exercise) as highlighted in red on this copy of the sausage method diagram.

• It is good that you're attempting to add the lumps bumps and complexity that bring out the character of the legs, taking them beyond simple sausage armatures, but you're often doing so by adding one off lines (again, highlighted in blue above) instead of making use of the various diagrams and demos I shared with you previously showing how to build up your legs with additional forms.

All right, I don't think further revisions will be particularly beneficial to you here, so I'm going to go ahead and mark this lesson as complete. Please be sure to actively tackle the points discussed here as you handle your animals. It's not uncommon for students to acknowledge these points here, but forget about them once they move on, resulting in me having to repeat it in the next critique (which we certainly want to avoid). If anything I've said to you here, or previously, is unclear or confusing you are allowed to ask for clarification.