Hello Jdbuenol, thank you for responding with your revisions.

Altering silhouettes

Right off the bat I can see you've made a real effort to make alterations to your constructions by adding whole 3D forms instead of partial shapes, good work. There are still places where you extend your silhouette with partial shapes, like the ears on your horse, but it is happening less frequently. I want to express the importance of establishing how the parts of your construction connect together, and I've made some notes on your owl here highlighting how you did a better job establishing that connection with one wing than the other. As well as a reminder to work from simple to complex step by step and draw through your forms. Drawing the whole form instead of allowing them to get cut off when they pass behind something else will force you to think about how the form exists in 3D space, and will improve your spatial reasoning. I am happy to see that you established a simple shape for your wings before drawing individual feathers, that is an improvement from your original submission.

As well as altering the silhouette of your forms by extending them with partial shapes, doing the opposite and cutting back inside your forms will also break the illusion that your drawing is 3D. This wasn't really an issue in your initial homework submission, but I've highlighted in red on your seahorse where you'd cut back inside forms you had already drawn.

This diagram shows the different ways we can alter the silhouette of a form and explains that for organic constructions we should be working by adding in 3D.

Sometimes you accidentally cut inside your silhouette if there is a gap between passes of your ellipses. Such as on the head of your horse. There is a way we can work with a loose ellipse and still build a solid construction. What you need to do if there is a gap between passes of your ellipse is to use the outer line as the foundation for your construction. Treat the outermost perimeter as though it is the silhouette's edge - doesn't matter if that particular line tucks back in and another one goes on to define that outermost perimeter - as long as we treat that outer perimeter as the silhouette's edge, all of the loose additional lines remain contained within the silhouette rather than existing as stray lines to undermine the 3D illusion.

Leg Construction

Keep working on sticking to simple sausage forms as explained here for the base armature. I've highlighted one particular sausage form on your dog here that was wider that one end than the other, and had one end flattened. Try to keep their width even and the ends rounded like half spheres. Once you have your basic structure in place then introduce complexity with additional masses. I'm happy to see that you did use some additional masses on your horse's legs to build on your basic structure, so I can see that you do understand the concept, good work. The donkey demo on the informal demo page is a good example of applying the sausage method of leg construction to animals, and I'd recommend drawing along with it if you haven't already done so.

Additional Masses

I'm glad to see that you're exploring the use of additional masses on your constructions. The mass on the belly of this horse was one of your stronger ones, I can see you thinking about how it interacts with your underlying structures. Where you make your additional masses round allover, like the belly of this dog they appear more like flat stickers pasted onto your drawing. Please reread the explanation I provided in my original critique, about how to think about designing the shape of your additional masses, as well as the examples I drew on your cat. I've made some suggested alterations to some of the additional masses on your dog here. In blue I drew a larger version of your shoulder mass- as discussed in the first round of critique, a larger shoulder mass provides more structure for us to wrap additional masses around, so we can get everything to interlock and feel stable and grounded. We want our masses to feel firmly attached to our construction, not like blobs that might wobble off if the animal moves. In blue I also redrew the top of the torso sausage to connect to the outer line of your ellipses. In future, if there is a gap between passes of your ellipse, use the outer line as the base for your construction to avoid any stray lines going outside the silhouette and undermining the solidity of your construction. Note the inward curves I have included where I wrapped the masses around the shoulder. I also questioned a mass that I don't fully understand. Because you drew a line for that mass that did not change when it transitioned between the pelvis and the thigh mass it was a little confusing to understand how it exists in 3D space.

Head Construction

You're still squishing the ellipse for your cranial ball on most of your constructions. It is always deformed in a similar manner. I think it will help you if you actively try to deform your ellipses the opposite way to counteract this habit, as shown here. Just like for students who habitually arch their lines in a particular direction, we can correct for habitually deforming ellipses too.

Looking at how you're building your constructions from your cranial ball I can see that on 3 of your constructions you've included angular eye sockets and wedged the muzzle between them so they fit together like puzzle pieces. So, that's good, I think you're heading in the right direction. I do feel that you're not investing enough time though, time to read and process the instructions, and time to plan and ghost every line. This is evident in things like drawing hexagons for the eye sockets, when the demo I linked to had pentagonal eye sockets, and there was an explanation on why this specific shape is so helpful.

Except for the seahorse. Just because the method we're asking you to use doesn't seem like a good fit for certain kinds of heads does not mean it should be discarded. Please refer back to the rhino head demo I shared to see how the method can be adapted to suit a variety of heads. There's also a good example with this camel head demo. I think it is quite telling that the construction where you didn't apply the informal head demo is also the one you spent the least time on. Perhaps if you had spent a little longer thinking through the puzzle in front of you, you may have come up with a better solution.

Conclusion

These are a lot better than your original submission. There is still a lot to work on, and I don't think it would be fair to expect you to do it all on your own, so I will assign some further revisions to help you understand and apply this feedback.

Please complete 4 pages of animal constructions. I'd like you to draw quadrupeds this time, to maximise the practice you get with leg construction. Please take as much time as you need to work to the best of your current ability at every stage of your construction. Sometimes when we're faced with a difficult task it can be tempting to rush through and get it over with, but I urge you to resist that temptation and take your time. Even if you feel like you already made a mistake somewhere and the drawing won't look good, there's still a great deal to be learned by completing it to the best of your current ability, and staying engaged with your construction every step of the way.