Hello Cap, apologies for the delayed response, your revisions came in during a promptathon.

Starting with your markmaking this is a step in the right direction. You've taken care not to leave large gaps between lines that should connect together, and there are fewer cases of redrawing lines and scratchy marks. That's not to say there are no repeated lines, example, or scratchy marks, example, but it is clear that you're working on this point.

Continuing on, you're taking a greater proportion of your actions in 3D by adding complete forms to your constructions instead of altering the silhouettes of forms you've already drawn. There are still some places where it looks like you're altering the silhouette of forms you have already drawn, example, but they're occurring less often.

When it comes to legs, I'm happy to see that you're working on using the sausage method of leg construction and you've remembered to include the contour curves for the intersections at the joints. As noted here both forms must be present for them to intersect, so the contour curve should occur within the area where the two forms overlap.

Looking at how you're handling feet, I can see you were trying to employ these notes on foot construction when you drew this cat but had forgotten about them by the time you drew this chameleon as you had reverted to trying to draw toes with lines, instead of the small boxy forms shown in the notes I shared with you. You're also intermittent about drawing the feet as complete forms, sometimes you're drawing partial shapes, as noted here.

Your additional masses are generally quite a bit better. You're giving your masses complete silhouettes and have stopped trying to "fix" them by using additional contour lines to try to make them feel 3D, good work.

Remember that complexity in these additional masses occurs in response to the existing structures in your construction. The masses on the back of this chameleon have some complex wobbles that aren't fully explained by the torso sausage they're wrapped around, so I've simplified them slightly. Also it looks like you either got confused or made a correction to the mass(es) above the hips, as there is an extra line there.

Your masses are generally looking better, but I feel that the ridges on the tail of the seahorse are falling a little flat. In part this is due to keeping their silhouettes soft and rounded all the way around, avoiding adding complexity. Unfortunately this lack of complexity robs us of the tools we need to explain how the new form wraps around the existing structure, and we end up with blobs that look pasted on like stickers. You can see a visual example of this concept in this diagram. It may help you if you think about the imaginary contour lines that wrap around your existing form, as shown here, when you're drawing new forms on top of an existing structure.

Moving on to head construction, I can see that you're drawing eye sockets consistently now, which is an improvement. I don't really get the impression that you're using the method shown in the informal head demo as closely as you can, as instructed. We went over the importance of following demos closely during your lesson 4 critique, twice in fact. This wasn't a vague suggestion, it was an instruction. I've done a little draw over on your cat, here.

1- The eye sockets should be larger, and you're not really sticking to the pentagonal shape discussed in my last round of feedback.

2- The footprint for the base of the muzzle should wedge tightly up against the edge of the eye sockets as shown, don't leave arbitrary gaps. The footprint of the muzzle was also incomplete, see the the extra line where the bridge of the muzzle connects to the cranial ball across the gap between the eye sockets. This is important, because it "completes" the silhouette of the boxy muzzle form. Without it, the muzzle is just a partial shape, without a clearly defined connection to the cranial ball in 3D space.

3- Extruding the boxy muzzle form from the footprint. You did this quite well, though your linework could be clearer and neater.

4- The brow ridge/ forehead plane is absent.

There are other points from previous rounds of feedback that you're either ignoring or forgetting. For example, there are places where your application of texture simply isn't following any of the guidance presented in the texture section of lesson 2. Here are some examples. I've given you information on this before. Please reread your previous rounds of feedback and these reminders. Once again, do not scribble. Scribbling is a valid drawing technique in general, but as I have explained before, it has no place in this course. Here is an example. I've invited you to ask questions before, if anything said to you is unclear or confusing, so I'm not sure why there is scribbling here after repeated explanations and reminders on this.

Another point that we've beaten to death already is making full use of the space available on the page. Look at this goldfish, there's oodles of empty space. You could have drawn it twice this size, or added more constructions to make use of the space available. We've been asking you to do this since lesson3. "I strongly urge you to make better use of the space available to you on each page, as you've left a great deal of the space on the page blank. You can either choose to draw your objects bigger (drawing smaller than what the objects themselves require of you can impede your brain's spatial reasoning skills and also make it harder to engage your whole arm while drawing, leading to more stiffness and clumsiness), or if the drawing was already given as much room as it requires, you should consider whether another drawing will fit in the remaining space. Having a single drawing occupying a small section of the page and leaving the rest blank is unwise - it's either robbing you of the opportunity to get further mileage under your belt, or it's hindering you from getting the most out of each individual drawing."

Now, some of this feedback may have come across as harshly negative. This doesn't mean that you draw badly, or are not suited to learning to draw. I've seen some of your 50% rule drawings and they're awesome. Just remember that we have very limited bandwidth with these written critiques, and part of the reason we are able to offer them so cheaply is by offloading some responsibilities onto the student. This includes doing whatever is necessary to remember and apply the feedback provided. I would sit next to you and remind you of each thing that comes up as you draw if I could, but I cannot. So the ball is in your court to apply the information provided.

I'll go ahead and mark this lesson as complete. Feel free to move on to the 250 cylinder challenge, which is a prerequisite for lesson 6. As always, if anything said to you here is unclear or confusing you are allowed to ask questions. Best of luck.