Welcome back! This time around you are definitely holding better to the principles of the lesson and the feedback I've provided previously. There are a few things I'll want to draw your attention to, but all in all I am pleased with your progress.

The biggest concern I have in your work is that you still have a pretty significant tendency to put marks down repeatedly and haphazardly, resulting in a lot more lines being present where only one would suffice, and an overall appearance of sketchiness. It varies from drawing to drawing, but looking at examples like these paws it's very clear that you're breaking away from the principles of markmaking from Lesson 1, and the use of the ghosting method. Always remember - you control how you approach making your marks. It is up to you to make the conscious decision not to simply put marks down haphazardly, but instead to first think through your intent for each mark, go through the preparatory process, and finally execute a single stroke with a confident motion.

Similarly, you do sometimes have a tendency to put down a fainter, rougher sketch for your initial masses - like on this bear. This can make us more prone to thinking of those initial masses as being less solid or tangible - fortunately while it got kind of smudgy, I don't see any signs of you really undermining the solidity of those masses any further, but it is definitely something to be cognizant of.

Continuing on, a somewhat minor point - on this robin, you left a somewhat arbitrary gap between the masses, and as a result missed out on the opportunity to press them against one another and really ground each other in 3D space. Avoid gaps like this - especially when they give you the opportunity to actually put some logic behind the corner of the mass itself, as with the gap, there was nothing really pressing in on that breast mass, and as a result it was rather arbitrary as well - remember that corners can only exist in response to contact with another defined structure. Same goes for inward curves, both of which are forms of complexity.

When it comes to the use of additional masses, I see plenty of cases where you're using them correctly, but there are other cases where there's still more consideration that can be put into them. Here on this dog I called out another arbitrary corner that should have been more of a smooth transition on that mass along the dog's back. I also expanded the chest mass - although I think this would have been handled better by putting more of a sag into the torso mass, as explained here in the lesson. Basically the less we have to worry about our additional masses fighting against gravity, the better.

Also, I did note that when you were attaching masses to your legs, you were more prone to just using softer, smoother corners everywhere. While we have to think a lot about where we're gonna use sharp corners, the solution to that is not to avoid using them altogether. They're necessary to capture the impression that we're wrapping around a structure, as shown here.

The last thing I wanted to call out is to do with how you're approaching head construction. In my previous feedback I did call out the importance of following this approach from the informal demos page pretty strictly, and I think you're still having issues there. Specifically:

• Not consistently sticking to the specific pentagonal shape for the eye sockets

• Not consistently defining the forehead

• Not consistently establishing how the muzzle fully connects to the cranial ball (like here where that connection)

So you're definitely going to want to keep a closer eye on that. Try your best to employ this method when doing constructional drawing exercises using animals in the future, as closely as you can. Sometimes it seems like it's not a good fit for certain heads, but with a bit of finagling it can still apply pretty well. To demonstrate this for another student, I found the most banana-headed rhinoceros I could, and threw together this demo - although I had shared this with you previously.

All in all there are definitely areas where you can still stand to improve, but there's been a lot of progress. At this point, I am going to leave it to you to sort out through the rest on your own - you've gotten lots of feedback between this submission and the last, and you've made good use of it in some areas, with others still falling through the cracks. I am going to mark this lesson as complete, but I recommend you revisit this material periodically (including the critiques you've received), rereading them now and then to see where you're still missing the points I've raised. I will also be releasing updated material for this lesson in the future (my overhaul's still back at Lesson 0/1, but I'll get there eventually) which should help take all of the points I've raised and solidify them more clearly as part of the lesson notes, so that should help as well.