Hi there! I saw your submission in the queue, so I thought I'd take a look. As you know, Camscanner tends to cut out some of the finer lines the work that I've seen that have been treated by it. Lines over-treated by camscanner bring a sketchy feel to the overall work. It can be difficult to judge what a line is supposed to be when it’s broken up or nearly invisible. That said, I tried my best, though I had to compile my notes of your work over several days, so some of my notes may make mention of areas that I couldn't quite make out. Moving on, lets get to the review:

Organic Form Intersections.

Let me start by saying you did a great job laying forms over each other without cutting into them. That's a surprisingly common error as students get used to the nature of forms overlapping, but you skirted that issue here. Make sure to keep an eye on contour transitions. Contours widen as form recedes behind the form its laid over. I have a diagram that I used in another critique that demonstrates that idea here.

Animal Constructions.

This lesson is fascinating to me in how it presents everything we've learned up to this point. Everything in the plant and insect constructions can be applied in this lesson, and what we're ultimately looking at is a toolkit that helps us understand the form of the thing we're trying to draw. It may not help us perfectly recreate the things we want to make, but as the goal of DAB is spacial reasoning, we're well-equipped at this point to tackle the challenge.

To that end, I believe you did quite admirably with your work here. You make good effort to make use of organic additions that roll onto each other without that dreaded “saddle” effect. Sausage armatures are relied on here for the limbs, and that creates a very solid foundation on which to build the lumps and bumps that create our critters. Organic forms tend to follow the form they lie on. It can be challenging to determine just how an organic form is supposed to fall over its base form, but for the most part, those forms will roll softly unless laid over an edge.

Since the complexity of these forms occur where they meet other forms, we can use those lines in place of contour curves to imply the roundness of our animal. Generally speaking, it’s more advisable to rely on our organic additions and the way they fall across the form to create that information otherwise created by contour lines.

One of the key tenets of DAB up to this point is starting with a base and building outward. This is repeated often in all those exercises we end up doing (point-to-point lines, funnels, form intersections, etc.). Very rarely do we see examples of constructions that cut into the form itself to complete the structure of the thing. There are a few older demos to be sure, though I understand that Comfy is in the process of revisions. So in the meantime, make sure to avoid cutting into the forms we’re building. Subtractive construction can be complex when used in tandem with additive forms. Just as a reminder, here’s a friendly diagram that I’ve picked up from… somewhere…

The last thing I want to touch on is your reliance on texture. Just keep in mind that we’re not creating art, but rather applying a rigorous method to gain a better understanding of how objects exist in space through translating them to a 2d medium. Texture in this case is applied to tell the viewer that it’s there, but we don’t need to see all of it. Refresh yourself with this bit in Lesson 2 about implicit vs. explicit details and how it impacts the work at hand. Incidentally, I'm not the best at capturing textures, but hair is one of those things that I've been slowly trying to improve my understanding on, so I put together a quick graphic that I hope will be of some help.

Other that those observations, I think your work here is satisfactory, and I'll mark this as complete.