Hello koolestani, thank you for replying with your revisions.

Firstly I need to call out an issue that was not present in your initial submission. On this rhino it looks like you tried to cut back inside the silhouette of the torso sausage in front of the hind legs, leaving the area I've hatched with red outside your construction, undermining its solidity. The same thing appears to be happening on the hyena construction. I understand that this may be something you saw in the intro video for this lesson, which is unfortunately a little outdated in this regard, (this will be corrected once the lesson overhaul reaches lesson 5) and instead we'd like to students to stick to the rule we introduced back in lesson 4. "Once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form."

When it comes to how you're building onto your constructions, you're using complete 3D forms most of the time, although there are a few places where you altered the silhouette of existing forms by extending them with flat partial shapes, such as the examples I've highlighted in blue here and here.

For the most part you've avoided adding too much complexity with a single form. The biggest exception I can see is the feet of the hyena, where instead of using these notes I shared with you previously, you attempted to draw all the complexity of the entire foot and the toes as a single form, so they fall flat. To give you credit, it is great that you chose to construct the feet, even though they were obscured in your reference. If you encounter similar situations in future I recommend searching for a second reference where the feet are clearly visible and using the supplementary image to help inform your construction when filling in the missing pieces.

Head construction is moving in the right direction. These are looking more solid, as you're constructing them more methodically without skipping steps. You're not always sticking to all of the specifics of the informal head demo as discussed previously. For example in your rhino construction you'd left an arbitrary gap between the eye socket and boxy muzzle form instead of wedging them together tightly like pieces of a 3D puzzle, as shown in this rhino head demo. I'd like you to reread my previous feedback and pay closer attention to the key aspects of the informal head demo when practising animal constructions in future.

On this hippo you'd extended the front leg off the bottom of the torso without constructing the shoulder mass with an ellipse. Remember the legs are attached to the sides of the body. This is something I called out previously on this camel albeit with a hind leg instead of a front one.

You're over using additional contour lines in an effort to make your forms feel more 3D.

In my original critique I spent a paragraph explaining how contour lines are not the tool to help fix your forms, and I'm still seeing you using them quite a bit, possibly trying to "fix" the silhouettes of your additional masses. Instead of putting your attention towards the specific manner in which those additional masses are to be designed, you're allowing yourself to draw some of them a little inattentively, and then attempt to remedy them after the fact. I think going forward it would be a good idea for you not to use those kinds of contour lines at all, as you have the tendency of using them as a crutch, and it's distracting you from solving the actual problem. To be clear, I want you to stop using the contour lines from the organic forms with contour lines exercise when practicing animal constructions in future. Those that define the intersection/relationship between different forms (like those we use between sausage forms in our leg constructions), as introduced in the form intersections exercise, are still allowed and encouraged however.

Aaaand a couple of quick points I didn't bring up in the original critique:

• As introduced here the rib cage mass should occupy roughly half the length of the torso. You tend to draw it as a sphere, which often makes it way too short.

• Remember to draw around all your ellipses two full times, even if you feel like you can nail them in a single pass. This is something we ask students to do for every ellipse free-handed in this course, as introduced here in lesson 1.

While there are a few things that I've called out for you to address, your underlying spatial reasoning skills are coming along well and I think you have the information that you need to be able to apply this feedback independently, in your own time, so I'll go ahead and mark this lesson as complete. You mentioned that this lesson felt a bit overwhelming, and that is quite understandable. The next section that comes up takes a pretty significant turn from the kind of construction we've been tackling for the last three lessons, so the difficulty you're feeling here shouldn't hold you back from exploring those, and I expect tackling that material may help further your understanding of the 3D puzzles involved in this lesson too. Feel free to move onto the 250 cylinder challenge, which is a prerequisite for lesson 6.