Having looked over your submission, your work is pretty solid, with a small handful of issues, which I'll address in a moment. One thing I did notice however, were the dates next to each drawing. They are all marked as having been done in late July/early August - that is, before you received your feedback for the previous lesson. In turn, I went and checked the stuff you submitted for Lesson 4, where the dates suggested that they were drawn in May, quite a while before you received feedback on your Lesson 3 work. Now, assuming those dates are accurate, it brings a significant issue to light - there's no way for the feedback you received on earlier lessons to be applied to the next lesson, if you'd already drawn the work ahead of time.

Now this is normally something I see from students who are trying to submit their work rapid-fire (having done it all in advance). Perhaps that is what you're doing, just a a slower pace as determined by the rate at which you get credits. Ultimately that's not for me to figure out. What's important here is that it is specifically stated back in Lesson 0 that students must wait to have their work marked as complete before moving onto the next lesson - or at least, if they wish to have that work submitted for official critique.

While I certainly do have cause to ask you to complete Lesson 5 again, at this point it'd be a waste of time for both of us. Partially because I've already identified the main points of my critique (which I've drawn right on top of one of your pages here, and will expand upon below) and partially because again, your work is fairly done well. It does however make the presence of certain issues clearer - some of these things are points I'd called out in my previous critique. So, I'm not going to dwell too much on them. Needless to say, I expect that you'll be redoing any work that was not completed prior to its prerequisites being marked as complete. Ironically this doesn't apply to the cylinder challenge (which is the next step and only requires Lesson 2 be completed), but I hope you'll consider that for the lessons that follow.

You'll note that in the redlining I linked in the previous paragraph, I labelled each point with a different letter. That'll correspond to the points below:

• A. When building up your additional masses, one thing you definitely want to avoid is trying to have one mass accomplish too much. Sometimes it's a matter of ending up with a mass that is too complex (due to it trying to capture many different aspects of the body), and sometimes it's a matter of oversimplifying certain elements. Either way, breaking things down into a series of masses that pile atop one another can help you both keep each mass as simple as possible, while continuing to capture all of the structural detail that may be present in an animal's body.

• B. Now due to the nature of these spatial problems, it's impossible for these additional masses to be perfectly simple - that would basically leave them all as circles or ellipses, and would not convey the manner in which these forms wrap around the existing structure. So some complexity is necessary, but we have to ensure that it is strategically placed only to define relationships between forms. One thing that helps with the shape here is to think about how the mass would behave when existing first in the void of empty space, on its own. It all comes down to the silhouette of the mass - here, with nothing else to touch it, our mass would exist like a soft ball of meat or clay, made up only of outward curves. A simple circle for a silhouette. Then, as it presses against an existing structure, the silhouette starts to get more complex. It forms inward curves wherever it makes contact, responding directly to the forms that are present. The silhouette is never random, of course - always changing in response to clear, defined structure. You can see this demonstrated in this diagram. Note that this means that no complexity should exist without being caused by the presence of some other form pressing in on it. Therefore the two humps I called out for this point on your bull drawing should itself just be a single outward curve. To capture it as two separate curves, two separate masses should be used, one piled on top of the other (similarly to point A).

• C. Just a minor point here - the masses on that bottom bull there kind of sit lightly right on its spine, but give the impression that it has more of a "peak" to the torso rather than a distinct top plane. Having your masses droop down along the side helps make the body appear more robust and broad, while also giving you the opportunity to wrap it around other masses like the ones at the hip and shoulder. Any opportunity to wedge these forms together helps accentuate the 3D nature of the whole structure.

• D. This one was called out back in Lesson 4 - don't cut into the silhouettes of your existing forms. As explained here, it will flatten out the result, because in effect you're operating on the drawing at the 2D level, not on the actual forms present in the 3D structure.

• E. Similarly to the previous point, every single form you draw must be drawn in its entirety. This helps to establish how they exist in 3D space (rather than just as lines on a flat page), and also helps us better grasp the way in which the forms all fit together.

• F. Also called out in Lesson 4 - make sure that you're employing the sausage method to lay down a base structure for each of your legs. You can always build upon it with additional masses to add bulk where it's needed. This relates quite closely to how we want to always operate in 3D space (by introducing individual, simple, solid forms and defining how they relate to one another in space) rather than jumping back and forth between 3D space and 2D space.

Aside from these points, you're doing well, and across a number of these drawings you've captured a strong sense of liveliness and solidity. I imagine that given the feedback you received in Lesson 4, some of these issues could certainly have been avoided, however.

Anyway, I'll go ahead and mark this lesson as complete.