Hello Cap, thank you for replying with your revisions.

Starting with your organic forms these are a bit better, in fact, one of them is great. I've highlighted it in green on your work here. You will want to practice these carefully in your warmups, as you're continuing to produce most of the issues I noted before across the various forms on your page. I've noted them on your work. Please refer to my previous critique for fuller explanations.

Continuing on to your insect constructions it looks like there is a point from my critique that you haven't fully understood, which I will try to explain more clearly. There are also a few things which I believe you do understand but that you're not taking as much time as you really need in order to apply them consistently.

Unfortunately it seems that you may not have understood what I had explained in regards to avoiding altering the silhouettes of your forms. I will try explaining this again.

Take a look at this image of your fly. At the top I've diagrammed how you started with a ball form for the head. This can be perceived as a shape (an ellipse on the page) or as a form (a ball in an imaginary 3D space) depending on how you choose to think about it.

Then to the left I've shown in red where you cut across the ellipse to effectively alter its shape, cutting it into two pieces - a piece below the red line that was being cut away, and the piece above the red line that remained. In doing so, and as demonstrated in this diagram I shared previously, you're eliminating the possibility of us understanding what's been drawn as a 3D form. By cutting the potential ball form's silhouette into two flat shapes, there's no way for us to understand it as though it exists in three dimensions. We are left with only the information we need to understand it as a flat, two dimensional shape. Instead, as shown in green, we add to our existing structure by drawing new forms and connecting them to what is already on the page. Please refer to the various diagrams I shared previously for examples of how to do this.

This is about ensuring that we're always operating in 3D space, you have to actively try to think of the things you're drawing as though they're solid and tangible - like you're actually introducing chunks of marble into a real 3D world, and everything you draw is adding to it. While the fact that we're drawing on a piece of paper gives us a lot of freedom to put whatever marks we want down, most of those marks are going to break the illusion that we're trying to create.

As mentioned in my last feedback, though perhaps it was not clear enough: Do not try to work subtractively. That means, do not try to cut away pieces of the forms you've drawn. Only work additively for now.

Now, there are some other issues in your work that have been brought up previously, and I firmly believe these are concepts that you do understand, most of them were introduced in previous lessons.

1- Remember to add a contour curve to reinforce the joints for your leg sausages. These little contour curves might seem insignificant but they do tell the viewer a lot of information about how the forms are orientated in space as well as reinforcing the structure of your legs by establishing how the forms connect together. I know that you understand how to do this, as most of them are present on this spider. However most of them are missing on your scorpion. I have brought this up specifically, and drawn it on your work before, which leads me to think that whatever you're doing to attempt to apply the feedback you have received is not enough. You may want to take notes in your own words, or make yourself a checklist of points to remember.

2- Stick to 2-3 passes on your ellipses. I've marked on your scorpion where you got a bit aggressive with drawing though some of the ellipses on the tail 4 or 5 times. I've explained this before (as did Uncomfortable in your lesson 3 critique.) And I'm sure you understand this, but weren't paying enough attention to what you were doing at the time you drew these ellipses. Those ellipses could also be more carefully aligned to your flow line. The flow line should serve as the minor axis for the ellipses, cutting them into two, even symmetrical halves.

3- Do not arbitrarily repeat or redraw lines. I've circled an area on your beetle where you drew a line four times. This forces the viewer into choosing which line is supposed to be the silhouette of your construction, and whichever one they choose, there will be 3 other lines on the page to contradict that illusion, undermining the solidity of the construction and reminding the viewer that they're just looking at a series of lines on a flat piece of paper. Ghost the line as many times as you need to, then draw it once.

4- Do not scribble. I've circled a patch of scribbling on your beetle. Zig-zagging back and forth in a single stroke breaks the third principle of markmaking that was introduced in lesson 1. Marks must maintain a consistent trajectory. If you're applying texture, you'll want to follow this process of outlining a shadow shape and then carefully filling it in. I'd recommend reviewing these reminders for how we approach texture in this course. I'm sure that you understand that you're not supposed to scribble in this course, and that patch was a result of drawing without thinking about what you're doing. Everything you add to these constructions- every form, every mark, needs to be the result of a conscious decision. If I were to point to something in your construction and ask "why did you do this?" the answer should not be "I don't know". The answer can be wrong, in the sense that your thinking was wrong, but as long as you're thinking it through and have some reason you can give, correct or not, that shows you thought about it. Thinking is also necessary when it comes to applying the past advice. You can't just read it, and expect it to sit in your subconscious to be applied readily going forward.

So, take your time to use the ghosting method in full for every line you draw, at every stage of your construction, no matter how small.

I will be assigning some further revisions. For these, I'd like you to adhere to the following restrictions:

• Do not work on more than one construction in a given day. So if you happen to put the finishing touches on one, do not move onto the next until the following day. You are however welcome and encouraged to spread your constructions across multiple days or sittings if that's what you need to do the work to the best of your current ability. That's not a matter of skill, it's a matter of giving yourself the time to execute each mark with care (which as I noted earlier is something you sometimes don't do as well as you could).

• Write down beside each construction the dates of the sessions you spent on it, as well as a rough estimate of how much time was spent on it.

Please complete the shrimp demo and the lobster demo from the informal demos page. Follow each step exactly as shown to the best of your current ability.

Then draw 3 more pages of insect constructions.