So I was going to leave this submission for the next round, since you technically submitted four and a half hours after my cut-off (not something students actively know about, just how I manage my time). That said, I took a little sneak peek into your homework submission, and frankly, I'm really impressed. Your work here is extremely well done, and as such I figured I'd add it to the end of today's set.

To start, your organic intersections do a good job of demonstrating the clearly three dimensional interaction between these forms, creating a very strong, convincing illusion of gravity as it pushes them down over one another. The only thing I want to really stress is that you should think a little more about how you draw each individual contour line. Right now while the forms are quite solid and three dimensional on their own due to how they interact with one another, the contour lines themselves are actually working against this due to how they don't hook around at the edges. Instead they're quite shallow, as explained here.

Continuing on, throughout your animal constructions you've largely done an excellent job of building up your constructions through the addition of forms largely respecting the solidity of your forms. I say largely because there are a few places - like this pelikan's feet - where you drew a basic form and then cut across it with the actual toes. As a rule, it's important to treat every form you introduce to your drawings as being solid and real, and to always avoid cutting across their silhouettes quite so freely. If you think of them as being solid, then you'll be forced to make decisions that will always reinforce that illusion, rather than potentially breaking it by adding little contradictions in terms of whether a form is actually present in a construction or whether it's meant to be ignored.

Similarly, we can get the same idea looking at this swan's wings. Notice how here the 'basic construction' remains solid even once the feathers are added, and at no point do I ask the viewer to believe that part of it should be treated as empty space.

Admittedly your work definitely shows a lot of growth over the course of the set, with most of the weaknesses being focused towards the beginning. You show a lot of confidence throughout, but it's hard to match the boldness with which you tackle the hybrids. The purpose of this exercise is to really test the student's ability to break down their animals into forms, and to build them back up with.. well, all the wrong parts. And with this you've done a phenomenal job.

Now, I am going to leave you with three main things to keep an eye on, all of which are noted here:

• Related to what I explained above - every form is solid, so don't cut across their silhouettes. Once a form is in the world, we have to deal with it, so that weird duck-rat should definitely have encompassed the whole of its torso-ball rather than allowing part of it to get left outside of its final silhouette.

• Don't forget that the sausage method emphasizes the importance of defining the intersections/joints/relationships between our forms. This goes beyond the sausage method though - a contour line right there at the joint is infinitely more effective than a contour line in the midsection of a form.

• When it comes to adding additional forms, the key is to remember that each one is like a slab of meat, rather than putty. While they're malleable, they're still going to maintain an amount of thickness that is their own. Therefore you can't just smoothly integrate them into one another - that thickness is always going to lead to these little pinches where the forms meet or overlap. That's what results in the nice little bits of nuance that imply musculature, rather than an overly simplistic mass of smooth putty. You can read more about the use of these additional masses here.

Anyway, all in all your work is very impressive, and unlike most students at this stage, no revisions are in order. Keep up the good work and consider this lesson complete.