In my previous critique, I provided you with an ultimatum that if you did not apply the points I'd raised in my previous critique correctly and consistently throughout your new submission, you would essentially be removed as a student.

Throughout this submission, you have definitely moved in the right direction and have shown improvement in a number of ways. That said, you have still continued to repeat issues I pointed out explicitly (even in the point-form list I provided at the end of my last critique). I know you're not doing this on purpose, and that this is because you are simply forgetting that these points were raised - but it is entirely your repsonsibility here to reread that list as many times as you need, as often as you need, to ensure that you apply those points in your new work. If you don't do that, then the time I put into giving you this feedback is utterly wasted.

So, I'm going to point out these areas where you neglected to follow those instructions. I will also state right now that I have refunded the last two payments you made via patreon (a total of $20), and have removed you as a patron. Patreon doesn't actually give me the option to just remove a pledge without blocking the user, so that's what I ended up doing. I would have simply left it to you to cancel your pledge, but it's the end of the month and I did not want another charge going through.

Here are the points you're missing. While I will not be accepting your submissions any longer, these should help give you some direction to move forward on your own:

• Draw through all of your ellipses. You're doing this for most of the ellipses on your animal constructions, but didn't on your organic intersections. This is a minor issue, but still worth calling out. It was, however, something I put in bold in my last critique.

• Do not skip steps. Build things up steadily, one simple form at a time. There are a ton of places where you did not apply the constructional principles - for example, this bird's wings where you jumped right into a very complex silhouette instead of building a simple structure for the wing, and adding the basic variation from those feathers on top. We can also see this in the bird's tails, as well as its feet. You also tend to do the same thing with some of your animals' legs. I understand why, for this one, but in the future you should strive to construct those legs in their entirety. There are definitely cases where it might be appropriate to allow the legs on the opposite side of the body to be flattened out, but in your case you need to focus on these drawings each as exercises in spatial reasoning - that means applying construction as much as possible, and dealing with everything as complete, solid structures - not just shapes on a flat page.

• Taking that last step further, I stressed quite a bit in my last critique (and likely beyond that) the importance of every form you add being complete and enclosed, and avoiding modifying the silhouettes of forms that have already been added by just adding the odd line or shape. Take a look at the lines I've highlighted on this elephant construction. While there are some elements you're adding as complete forms, you're entirely inconsistent in doing so.

• I stipulated that you should not be adding any contour lines along the surface of a single form. You held to this in many cases, but fell back into it here and here.

• Your use of the sausage method is coming along well in some places - but remember to stick to the characteristics of simple sausages, even on those upper thighs. You start with a simple sausage structure, then build additional masses onto those structures afterwards to add bulk as is needed. You do not need the sausages to capture the entire shape of the leg from the get-go. As explained previously, the sausage method exists only to provide a starting structure or armature, upon which we build up further.

• You should be going to greater lengths to apply the principles in this head construction demo to your animals, as I outlined in my previous critique. There are aspects of it to which you're holding - for example, on this bear I can see that you're wedging the eye sockets up against the muzzle. You are not, however, paying attention to how I've shaped those eye sockets, which is quite important, and aren't considering things like the brow ridge and the cheeks. Also, remember that we place eyeballs inside of the eye sockets, and then add new masses to wrap around those eyeballs to create the eye lids. Don't simply draw a little eye shape and stamp it on top of the circle. You need to be thinking about how even these little elements interact in 3D space.

Overall, you are making progress, and if we stuck with this for another half dozen iterations, you'd get there. Unfortunately, I cannot commit all that time to you - Drawabox is designed to provide students with the direction and structure they require, but my time is not infinite. You have shown a pattern, time and time again, of simply forgetting or ignoring clear instructions, and so I cannot be the one to help you forward from here.

I wish you the best of luck, and I hope these last pieces of instruction will help you.