This is certainly a bit of a mixed bag. Your first drawing - the horse - is a huge improvement over before. It's not perfect, and there are a few areas in which I will make recommendations for further improvement, but as a whole it's definitely pushing forward in a notable fashion.

Your other three drawings, however, definitely come off as much weaker, although it's more at the first glance than anything else. This is because they have some really glaring issues that stand out, which make it harder to notice the fact that the underlying construction isn't actually all that bad. The main issues are related to how you've approached drawing their heads. It seems to me that your observational skills (or perhaps just your attention and care) drop off sharply when you start drawing their heads. The horse's head was pretty decent - a bit long, but it showed that you were paying attention and making decisions based on what was present in your reference image.

The wolf and otter heads however were largely made up, not reflecting your reference at all. The body construction is however much better, for the most part. There is that biiiig form you half-drew coming down from your wolf's head all the way down along its belly that was very incorrect, for a couple reasons:

• First off, it wasn't drawn as a complete, enclosed form. It was drawn more as a line that relies on other forms' outlines to enclose its own silhouette. Every single form we add to a construction must be its own fully enclosed form.

• Secondly, any situation where you end up with such a massive additional form, you need to think about just what it is meant to accomplish. Generally speaking, a form that big is probably trying to accomplish too many things at once, and so you're probably skipping steps. It's usually best to construct them using several smaller masses building upon one another, each accomplishing a much smaller overall task.

Since I last gave you feedback, I've drawn up some additional diagrams that may help you better grasp how to approach two topics you're struggling with: head construction and thinking about additional masses. That said, you have improved with the latter.

For head construction, here's a breakdown and explanation of how to tackle building a head. This is something I plan on integrating more meaningfully into the lesson content in the coming months, as I work on rerecording the video demos. Read through the explanation, and I recommend attempting to draw along with the demonstration to better grasp how to approach building up that kind of structure. Since you have a tendency to draw your eye sockets way too small, make a point of drawing them larger than you think they need to be. This will also help you avoid cramping up the head construction as a whole.

Moving onto the next issue, as shown in this diagram, the silhouette of our additional masses is all determined by thinking about what structure it is being pushed up against. When the mass is floating up in space, it's like a ball or blob of soft meat. It's malleable, but because there's nothing else pressing against it, it curves outward all over, forming a ball. If however we were to push it down onto another form (like the depicted box), the form is going to start curving around that form, adding more complexity along the sides that actually make contact. This forms corners, and inwards curvature.

What this means at its core is that anywhere you include any complexity along the silhouette of an additional mass, you need to be aware of what specific form or structure is actually causing it. You need to be consciously aware of a lot of the little masses you're building up on the body of your animal.

Now, to be clear, you are improving on this front, especially when it comes to the animals' torsos. The biggest room for improvement is in how you tackle the animals' legs - the additional masses you add there tend to have silhouettes that don't read as clearly as wrapping around these structures. Try not to just focus on the forms that bulge out on the sides of the leg - draw the forms they're going to press up against along the inside of the leg as well, as shown in this old dog leg example.

All in all, you are really making progress, but these last little bits - understanding how the additional forms press up against the existing structure, and understanding how to approach the head structure - are very important. So I want to see 2 more animal drawings, and the draw-along with the head structure demo.

I was looking at my feedback and realized that I'd done a redline of two of your drawings but totally forgot to actually included it in my critique. Here it is. Sorry about that!