Hello Osbornnick, no problemo, thank you for getting back to me with your extra pages.

All in all, I think you're doing a pretty good job with these, well done!

What I'm seeing is that you're really pushing yourself to work in 3D by adding complete new forms wherever you want to build onto your constructions or alter something, and you're making progress with designing your additional forms so they feel solid and believable, reinforcing the 3D illusion as they connect to the existing structures with specific relationships.

I'm seeing a fair bit of growth across the set, I agree your second bear is stronger than the first, as you've allowed your additional masses to press against each other and interlock more, helping the construction feel more solid and grounded.

There seems to have been a slight misunderstanding regarding head construction. In my initial critique I was trying to direct you to this informal head demo as the most effective method of head construction, and get you to follow it as closely as you can. I'm not too concerned about your decision to go with the tiger head demo instead, as your head constructions are coming out considerably more solid than your initial submission. I would still like you to try using the informal head demo method when practising your animal constructions in future, as I think it will help you to get even more out of this exercise. I've made some notes for the first couple of steps on your cat and you can find a more developed example of this method being applied in this rhino head demo.

When adding masses to your leg constructions, don't worry about adding specific muscles (you're not expected to know animal anatomy for this lesson) and instead concentrate on working with the forms that are visible in your reference and applying the logic demonstrated in this diagram to help you design them. We want to avoid using inward curves on additional masses where they form the outer edge of the construction, like this example, as they are exposed to fresh air and there is nothing present to press against them and cause an inward curve.

If you need to create an inward curve along the silhouette there, we can achieve a similar effect by layering multiple masses together like this. Each mass stays simple (a gentle outward curve) where it is exposed to fresh air. When I broke your masses into pieces I also took the opportunity to twist the masses around the underlying sausage form, and either press them against, or wrap them around, one another. This will help give the masses a firmer grip on the construction than simply running their edge parallel to the edge of the underlying sausage form for long distances.

You've made fantastic progress and I'm happy to mark this lesson as complete. Feel free to move on to the 250 Cylinder Challenge, which is a prerequisite for lesson 6.