Jumping right into your animal constructions, I'm noticing a number of areas of feedback that had been shared in previous critiques - especially those provided across Lesson 4 - that you do not appear to be applying here.

The biggest one of these is that back in the first feedback you received for Lesson 4, I stated the following:

First and foremost, try to make this a habit: every single thing you add to your construction, at every stage, should be a complete form. That means a fully closed silhouette, rather than a single line, or a partial shape. You need to actively think of these things as though you're adding them to a sculpture. So if you compare the way in which the legs were drawn when you followed along with the louse demo to the way in which the legs were drawn in this insect. In the louse, each sausage, every segment of the leg was drawn as its own closed form. In the insect you did on your own, you drew each segment as a partial shape, having them stop where they overlapped the previous one, rather than drawing through the form and establishing both as independent, 3D forms. Here's what I mean if my explanation was unclear. You may also want to review the sausage method notes.

Unfortunately, you altered the silhouettes of your forms, and approached your drawings with a lot of individual marks, rather than ensuring that every addition was its own complete, fully self-enclosed form. This was something that you'd certainly improved upon in your revisions, which suggests that at least at the time you understood the feedback. I can however see that there are some pretty significant gaps between your submissions. You had Lesson 4 marked as complete in February, which was 5 months ago.

That isn't a problem in and of itself - we have many students with different circumstances, many with full time jobs, and families, and all that. That said, it is up to the student to ensure that they do whatever is necessary for them to apply the feedback they receive going forward, and to do everything in their power to avoid those issues coming up again. This may mean rereading that feedback periodically, revisiting it frequently when starting your work, taking notes on the feedback and rereading those frequently (but still going back to the original critiques now and then). Whatever it takes, and whatever you need to keep that feedback in mind, it falls to you to do so.

Now, in terms of modifying the silhouettes and primarily working with actions taken in two dimensions, you do this a lot towards the beginning of your submission, and somewhat less as you progress through it. So for example, you've effectively redrawn the entire silhouette of this bird, which is very incorrect. Further along however, with this llama is made up more noticeably of solid forms, although there are definitely places where you're manipulating silhouettes, they're simply more isolated. For example, directly on your llama drawing I've marked out in blue where you were taking the existing silhouettes of the neck and back leg's constructed forms, and then redrawing them further out, to effectively add more bulk. This new addition does not give us any solid information to understand how the addition attaches to the existing structure in 3D space however, making it appear flat. In red, I marked out where on that front leg you started with ellipses and then cut back into them. It's pretty normal for ellipses to come out a little loose, but in such cases, treat the outermost perimeter as though it's the edge of the form's silhouette, so that it keeps the rest of the linework contained within it, helping to promote the illusion of a solid structure.

And of course, you should be using the sausage method for constructing your legs, as introduced in Lesson 4. You're pretty inconsistent with that - sometimes using sausages, sometimes using other forms (like ellipses/ball forms) and frequently neglecting to define the joint between the segments with a contour line. This suggests to me that you're working off what you remember of the sausage method, rather than referring back to this diagram from Lesson 4.

In terms of the areas I marked out in blue on your llama, I did provide some diagrams in that past feedback that demonstrated how you can build masses upon those leg structures, here:

The key to keep in mind in regards to this technique 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 (because this technique is still to be used throughout the next lesson as well).

Now, as most of these issues arise from what I believe to be shortcomings in how you're using the material/feedback, I'm not going to dive more deeply into it, since it's all repeating things I've called out in the past. I do however want to talk about one last thing that would be beneficial to call out, for your next attempt: head construction.

Lesson 5 has a lot of different strategies for constructing heads, between the various demos. Given how the course has developed, and how I'm finding new, more effective ways for students to tackle certain problems. So not all the approaches shown are equal, but they do have their uses - although to be fair, right now most of your drawings do not really apply any of the various approaches demonstrated throughout the lesson material.

As it stands, as explained at the top of the tiger demo page (here), the current approach that is the most generally useful, as well as the most meaningful in terms of these drawings all being exercises in spatial reasoning, is what you'll find here on the informal demos page.

There are a few key points to this approach:

• The specific shape of the eyesockets - the specific pentagonal shape allows for a nice wedge in which the muzzle can fit in between the sockets, as well as a flat edge across which we can lay the forehead area.

• This approach focuses heavily on everything fitting together - no arbitrary gaps or floating elements. This allows us to ensure all of the different pieces feel grounded against one another, like a three dimensional puzzle.

• We have to be mindful of how the marks we make are cuts along the curving surface of the cranial ball - working in individual strokes like this (rather than, say, drawing the eyesocket with an ellipse) helps a lot in reinforcing this idea of engaging with a 3D structure.

Try your best to employ this method when doing constructional drawing exercises using animals in the future, as closely as you can. Sometimes it seems like it's not a good fit for certain heads, but with a bit of finagling it can still apply pretty well. To demonstrate this for another student, I found the most banana-headed rhinoceros I could, and threw together this demo.

Now, I am going to require you to do this lesson over, once you've had a chance to revisit the previous feedback, and reflect upon what exactly got in the way of applying what I'd explained there, to your work here. Once your work is completed, you'll need to submit it anew, as a fresh submission, which will cost you an additional two credits. I did consider just cancelling the submission and returning the credits you spent here to your account, but I did not feel that just saying "you didn't apply my feedback" and calling it done would have been beneficial to you - so I went ahead and did the critique, in the hopes that it would position you more effectively to do better on your next attempt. If however we continue to run into issues in your applying the feedback, then we may have to reassess whether I am a suitable teacher to work with you through these matters. The resources I have to spread out amongst all my students here is pretty limited, considering how little we charge, and so we do rely a great deal on the students themselves to do what they can to apply the feedback they receive.