Hello Melos, these are looking much better.

Your head constructions in particular have come a long way, you’re being more specific about carving out the eye sockets with intentional strokes (rather than drawing vague rounded or incomplete shapes) and creating specific relationships between the various pieces of your head constructions by wedging them together snugly.

I noticed you wound up cutting back inside the cranial ball of the elephant to draw the mouth. Remember that cutting back inside the silhouette of forms you have already drawn undermines their solidity, so when engaging with organic constructions in this course try to work by adding to the construction. Here is an example of using additive construction to build a similar elephant. It can be tricky to figure out how to build the head additively when the mouth is wide open, and one strategy I’ve found useful is to construct the lower jaw as a separate boxy structure, in a similar manner to the main muzzle form, here is an example showing this idea applied to a squirrel head.

I was happy to see you using a boxy form as the foundation for your foot constructions, instead of trying to capture all the complexity of the foot and toes in a single step. In your bunny you did a great job of constructing the toes using complete 3D forms too.

It is good to see you exploring more liberal use of additional masses across this set, and you’re doing a great job of defining spatial relationships between your masses and the basic underlaying structures in some cases, such as where you’re pressing your additional masses against the protruding shoulder and thigh masses, anchoring them securely to the torso. I think the most important point for you to keep in mind for your masses is to make sure each one has its own complete, fully-enclosed silhouette. I’ve marked on your elephant with green where I thought some of your additional masses were very well done, and with blue some places where you’re still hopping back into working in 2D by adding one-off lines or partial shapes. It might help you to take a look at this diagram showing examples of the different types of actions we can take when engaging with a construction, using the context of a sphere. When practising these organic constructional exercises in future, strive to only take actions by adding in 3D, as shown in the lower right corner. Creating believable, solid, three dimensional constructions despite drawing on a flat page requires us to first and foremost convince ourselves of this illusion, this lie we're telling, as discussed here back in Lesson 2. The more our approach reinforces the illusion, the more we make new marks that reinforce it even further. The more our marks break the illusion, the more marks we make that then further break the illusion, for us and for everyone else.

While in this course we're doing everything very explicitly, it's to create such a solid belief and understanding of how the things we draw exist in 3D space, that when we draw them more loosely with sketching and other less explicit approaches, we can still produce marks that fall in line with the idea that this thing we're drawing exists in 3D.

On this image I’ve redrawn those one-off lines and partial shapes as additional masses, using their complete silhouettes to give them a clearly defined 3D relationship to the existing structure.

All righty, these are heading in the right direction and I’ll go ahead and mark this as complete so that you can move onto the 250 cylinder challenge.