I wouldn't exactly say that my comments about the sausage method were to abandon accuracy - I mean, to a much more minor extent that's a principle behind this course as a whole (we're not that focused on reproducing the reference image, but rather treating the reference image as a source of information as we build up a three dimensional puzzle on the page). Rather, the sausage method is, like all of construction, a process that is built up in stages. We start with an underlying structure, and then gradually build up to all of the various areas of bulk (or otherwise the non-sausage-like elements) bit by bit, rather than trying to jump from 0 to "finished leg" all in one go. The starting point is always the same - a simple sausage structure, adhering to the specific, strict rules from the sausage method diagram.

Anyway, jumping into your homework submission, you've done a pretty good job overall. There are some little issues I'll call out, but as a whole I'm pleased with your progress. Starting with your organic forms with contour lines, you're doing a good job of establishing how these forms interact with one another under the force of gravity, and the cast shadows you're drawing are coming along pretty well - though I did notice a couple spots where cast shadows ought to have been, but weren't, as shown here.

Moving onto your animal constructions, I have a few points to get through, so I'll list them in bullet points here, then get into more detail below.

• Designing the silhouettes of additional masses

• Avoiding working in 2D

• Overuse of contour lines

• Head construction

Designing the silhouette of additional masses

So one thing that caught my eye was that a lot of the additional masses you drew tended to be somewhat arbitrary when it came to where exactly they featured complexity (like inward curves and corners) versus where they featured simplicity (mostly outward curves). 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.

As shown here on this bear, you definitely do have a lot more complexity present (random inward curves, random corners) that don't entirely make sense. As a whole I can see you trying to work through it in your head, and I'm pleased to see how you're even trying to combine a lot of separate additional masses (which is very good, far better than trying to have one mass accomplish too much), but this is something you'll have to continue practicing. Think of it all as a 3D puzzle - you know what you want to achieve, but you're working to figure out how you get there while adding one piece at a time.

Avoiding working in 2D

Overall you're doing a good job of working with 3D elements, defining the relationships between them, and so on - but there are definitely still a lot of places you're adding partial shapes or one-off lines to modify the drawing as it exists on the flat space of the page, rather than strictly working in three dimensions. Here's a few examples.

Overuse of contour lines

This one's pretty straight forward - ease up on all the contour lines, you tend to throw them off when they're not necessarily needed, and I've often found that when students do that, they're less likely to give as much thought to how they're designing those additional masses, because they feel like they can "fix" mistakes by adding contour lines. Unfortunately, those contour lines (the ones that sit on the surface of a single form, as opposed to those that define the intersection between forms) only make a structure feel more three dimensional in isolation. They don't actually help define the relationships between forms in space, which is far more effective in making the whole construction feel solid and believable.

When you do use contour lines, really ask yourself what you're trying to accomplish with them, how they can best achieve that goal, and whether another mark or tool is already accomplishing that task.

Head construction

Across your set, I saw you employing a few different approaches for head construction. This is actually one of the areas where Drawabox is a little scattered, so I just wanted to clarify a little bit. Right now, the approach shown in this informal demo is what you want to try to apply across the board, as much as possible. I can see you using it in this bear, so it seems you are pretty well aware of it. Specifically, we want to focus on maintaining tight, specific relationships between the different elements, having them wedge together into a solid 3D puzzle, and avoiding arbitrary gaps.

And that about covers it! You do have a fair bit of room for growth and improvement, but as a whole you are moving in the right direction and I'm confident enough in your trajectory that I feel you should be good to continue practicing on your own. So, I'll go ahead and mark this lesson as complete (rendering your question about revisions moot - though for future reference, most students just do a random assortment of new animals when revisions are assigned, and that's fine by me).