Hello Lau, thank you for replying with your revisions.

This is a big step in the right direction.

Your work overall shows less focus on decoration and more focus on construction, which is good to see.

You've stopped cutting back inside forms you've already drawn. Nicely done.

Your line work on this dog head is really good! You didn't trace back over your lines to add unnecessary extra line weight. Going back over your lines does crop up here and there, for example on the line I've circled here on your bird. That section of line line is not clarifying an overlap with another form, you've drawn over it again just because that's the section of the line that is visible.

You're constructing your legs from complete forms now instead of partial shapes, good. These forms are generally sticking more closely to sausage forms but the hind leg on this stoat has a form that is more elliptical than sticking to the characteristics of sausage forms that I shared with you in my initial critique. You're not including the contour curve for the intersection at the joints. I made a point of including this version of the sausage method diagram with you, with those contour curves highlighted in red. They're step 3 in this colour coded diagram that I made for you. I appreciate that I did share a lot of information with you, if anything is unclear or confusing you are welcome to ask questions. If you understand what you're being asked to do, then it is your job to make sure that you take as much time as necessary to absorb and apply the information that has been presented to you. Remember these critiques are a collaboration, I'm here to catch any information you may have misunderstood, not as a replacement for your own efforts in remembering the lesson material. For clarity's sake, I've drawn the missing contour curves for the intersections in red on your horse.

The other note on the horse is about extending your constructions with partial shapes instead of complete forms. In green, you'd established a solid 3D form for your neck, which is good. In blue you'd extended that neck form with some partial shapes. I went over the importance of adding complete forms to your constructions in my initial critique, and provided examples to help you understand how to do this.

Another example here on your dog head. I've highlighted in blue where you'd extended your construction with lines, then shown below how to incorporate those extensions as complete 3D forms instead.

It's good that you are working on building on your constructions with additional forms. There are a number of ways we can improve upon them, marked on this horse.

1- As I already stated, it's important that these additions are complete forms with their own fully enclosed silhouettes, no one off lines or partial shapes.

2- Sometimes the silhouette of your additional masses runs parallel to the silhouette of the underlying structures with a very small overlap. The idea is to wrap your additional masses around the underlying structures to give them a good grip. We want them to feel stable and secure, not like they might wobble off if the animal were to move.

3- As I showed in my initial critique, it helps to make your additional masses feel stable and secure by also wrapping them around the shoulder and/or thigh masses.

4- I didn't bring this up before, because there weren't really many additional masses on the legs in your initial submission. You're off to a decent start in the use of additional masses along your leg structures, but this can be pushed farther. A lot of these focus primarily on forms that actually impact the silhouette of the overall leg, but there's value in exploring the forms that exist "internally" within that silhouette - like the missing puzzle piece that helps to further ground and define the ones that create the bumps along the silhouette's edge. Here is an example of what I mean, from another student's work - as you can see, Uncomfortable has blocked out masses along the leg there, and included the one fitting in between them all, even though it doesn't influence the silhouette. This way of thinking - about the inside of your structures, and fleshing out information that isn't just noticeable from one angle, but really exploring the construction in its entirety, will help you yet further push the value of these constructional exercises and puzzles.

And while I was on that Image, a note on head construction.

5- This was something you handled better on your dog and your stoat, but on your horse the muzzle and eye socket are floating separately on the head with an arbitrary gap, I've connected them together for you.

I didn't bring this up before, as there was an awful lot to get to, but I noticed on your stoat and your horse you've made the pelvis mass bigger than the rib cage mass. Take another look at this section from the lesson intro page. The rib cage should occupy roughly half the length of the torso sausage.

I believe the missteps with the sausage method and extending your constructions with lines stem not from a lack of ability, but from not taking as much time as you needed to go over the feedback provided, and being hasty to get through your revisions. Be sure to go over this information thoroughly, as it has been provided for your benefit. Feel free to ask questions if anything said to your here is unclear or confusing. I'll go ahead and mark this as complete.