Hi there G4rinuun, looks like I'll be critiquing your work again. So without too much fanfare, let's get to it:

Organic Intersections. Okay, so looking at these two pages, the first thing that stands out is the use of the space. I get a strong sense of the plane upon which the sausages rest. There's a couple errors though that throw the illusion a little bit. On this first page here, I've marked a few spots that stand out to me as being particularly disruptive to the illusion. Namely, you want to make sure you draw through your forms. Now when it comes to their contour curves, they follow the same principles as described back in lesson 2. It can be a little tougher to maintain their alignment without the gestural minor axis used in that assignment, but the degree shifts adhere to the same idea. The other thing I wanted to touch on was the shadows; I didn't mark them in my review, but there's a couple that follow the form that makes them rather than fall on the forms beneath them. In the case of this exercise, it's better to maintain the illusion if you keep one light source hitting across all the sausages.

I will say that the second page has more complete forms, but the shadow work and the contour shifts are still lacking. If it helps, here is a diagram of a banana with rubber bands that captures the behavior of contour curves as the banana exists in space(not that a banana has much agency beyond existing).

Animal Constructions. Alright, the meat of the lesson! There's a good variety creatures here, and I can appreciate trying the non-traditional fish using the principles of construction. For the most part, your creatures are readable, and I can get a sense of their forms, but there's a number of issues that need addressing. There's a few cases, like this fox, where it looks like you cranial and torso balls were starting to fray a little, and this camel where pelvic ball is all but ignored in the construction. As outlined in lesson 1, our work is best conveyed in clear intentioned marks that are smooth and confident.

So looking through these constructions, I can see that balls were used to construct the torso, along with the cranial ball. For the legs, from what I can gather, it looks like you're approach was to use the large muscle forms as demonstrated in the lesson material and continue from there. Something I began to notice is that the legs for these creatures continue through as tubes defined by their contour ellipses.

Legs.

Looking over the work here, there seems to be some confusion as to the construction method for animal legs in this lesson. For example, the second shiba uses sausages, but then your hybrid uses tubes. In other constructions, I'm seeing a conflict between the two, as seen in the first shiba.

Just like with lesson 4, our form of choice for legs is going to be the sausage. I know Comfy is in the process of revising the lessons, so unfortunately we find ourselves in conflicting times where it doesn't feel 100% certain just what we're striving for. The wolf demo does demonstrate the sausage construction. Ultimately though, it's roughly the same idea as lesson 4, with sausages being jammed into each other with a contour curve showing where they intersect. From there, we can add forms and build up from there.

Incidentally, Comfy has also produced a diagram demonstrating a 3d construction for feet that can be a good starting point for our own constructions.

Organic Additions.

On several of these I see good application of organic additions. Your koi and first shiba are especially good-looking as far as additional forms go. Something to keep in mind is that when organic forms meet up against other organic forms, they don't really stop or form straight lines or angles, but rather continue to flow over each other as they continue to spread out. As you can see in this diagram, it can get complex trying to see how the forms relate to each other as they rest on top of the sausage.

It may help to think of the way that the organic form exists in a vacuum. By itself, there's nothing to the form beyond itself, so it appears as a simple form in space. Once applied to another form though, it begins to take on the property of the new form, which creates complexity along the intersection where the forms meet. I have a diagram describing that here that demonstrates this idea.

Something to keep in mind too is that as we continue to add forms to our constructions, we end up developing a set of consistencies that help convey the illusion of 3D. Our work gets in trouble when we contradict those ideas. I only bring this up because there's a few instances where organic forms are connected by a single line or entire additions are missing information. 2D additions are a strategy to construction, but they clash with our three-dimensional approach. In the case of our camel, there's a number of parts here that challenge our 3d illusion.

Muzzle Construction. This is probably one of the harder aspects of this lesson to gain a handle on for most students. Like the other elements of our animal constructions, though, this is merely a base from from which we can build out our creatures. The lesson material as it stands has a number of interpretations, but as you see at the top of the page here, Comfy recommends we follow the method provided in the informal demos section. Again, this has to do with Comfy's planned revisions, so it's an easy detail to miss.

I do see though, a few attempts to follow a semblance of the muzzle construction. Your second shiba looks especially well done, even without the pentagonal eye socket.

There's a few I'd like to help with, starting with the pelican. In my own constructions, I still follow the method comfy introduced in the demo of the [pelican], and it can serve you here. Like all of our forms at this point, they intersect with the other base forms as needed, so make sure it intersects with the cranial ball. Same is true for the eye here with our camel. I went overboard and added the forms, but the important thing to focus on here is the importance of the head construction. The five-sided eye socket, each side a contour carved into our ball, allows us to define the head in a way that lets us see the planes, and that can be very helpful in planning how to apply our additions.

Final Thoughts.

Okay, so I went through here and picked apart your work, to a degree that might be overwhelming at best, or incoherent at worst. I apologize in advance if it comes across as the former, as I tried be comprehensive with all of your work here rather than focus on one or two constructions. BUT what is important here is that I believe you can do these constructions as required; there are many elements in your work that are well done, but not always on the same page. Therefore I'm requesting a few more pieces to complete your critique. They don't necessarily have to be new animals, but I will ask that they be new references. I'm looking for the following:

• complete basic form construction, with sausage legs serving as bases for the leg.

• additions are 3-dimensional, and build on the form it attaches to.

• muzzle construction.

There's some good examples of muzzle construction as well as leg assembly in informal demos section. Review these along with some of the other diagrams here as you consider your new constructions.

hello :)) im willing to take a look, but i was wondering if you had the references you used?