Looking over your work, I've noticed some considerable strengths as well as some significant issues that need to be addressed.

To start with your strengths, I think you're demonstrating a great deal of care and attention to how the forms your construct relate to one another in 3D space. This is especially noticeable when looking at how you wrap additional masses around the underlying structures - you seem to have a good sense of how these forms exist as three dimensional forms, and so you show a great deal of respect for the space they occupy when adding new elements to the construction.

The most notable issue that jumps out at me however is that you seriously overuse contour lines, and you tend to draw them without necessarily taking the time to ensure that they're drawn as well as you could. I often see this from students who don't necessarily understand the specific purpose of the marks they're drawing - so they'll use the techniques they've learned somewhat more blindly, attempting to apply what they've learned without a specific goal in mind. In this case, the vast majority of the contour lines you've drawn don't actually contribute anything of significance to your drawings.

The thing about contour lines is that they suffer from diminishing returns. The first you draw may help a form to feel much more solid and three dimensional. The second you add will help somewhat, but not as much as the first. The third, and fourth, may not contribute much of anything at all.

For this reason, it's important to think about exactly why we want to draw a specific mark, and what task or job it is meant to accomplish. Consider whether the mark you want to draw is the best for that task, if another mark may be more effective, or if something already present is accomplishing that task. Don't just jump straight into putting a mark down without thinking it through, otherwise you'll end up with a lot of lines that aren't doing much of anything aside from adding clutter.

And of course, take the time to draw each mark you decide can contribute meaningfully to your drawing properly. Looking at your camel head, all of the contour lines were extremely rushed, as though you drew them in very quickly.

It's worth also talking about the fact that there are different kinds of contour lines, and some are more effective than others. The contour lines we draw along the length of a single form are useful, but in a limited capacity. Alternatively, the kinds of contour lines we draw at the joint between sausages in the sausage method for drawing our legs are vastly more effective, because they define the relationship between two separate forms in space. By doing so, they create a very strong link between those forms in 3D space, and in turn this makes the forms read as being solid and three dimensional. Often times just establishing how two forms connect to one another in 3D space is enough to make both feel three dimensional without adding any further contour lines.

Similarly, when we wrap one form around another (as you've done quite well with many of your additional masses), this establishes a relationship between those forms, and can serve a similar function.

Another issue I wanted to point out in your drawings was that I think you're putting a lot of effort and attention towards drawing your forms well, and are spending less time actually studying your reference images. As a result, many aspects of your animals end up being left at a fairly simple state, ignoring a lot of the subtler nuance present within those animals' bodies.

Here's an example I provided another student recently. The structure on the left is an oversimplified impression of the leg - it's a strong underlying structure, and that's more or less what you're doing right now. But it's not finished. If you then look on the right side, I've added many additional forms to capture subtler elements, by wrapping them around the base sausage structure using this technique.

You can also see this demonstrated in this puma demo. The structure is kept fairly simple and straightforward, but once we hit the "building up more specific forms" part of the demo, I start adding additional forms wherever I need to in order to capture the impression of muscle groups and other things that have an impact on what we can see on the animal's body.

The last point I wanted to mention was that when constructing your animals' heads, you tend to run into a few issues:

• You draw the cranial ball too big, and then the muzzle too small in comparison

• You tend to leave the various elements of the face - the muzzle, the eye sockets, etc. - as separate floating elements, rather than having them connect to one another more firmly like a 3D puzzle. Take a look at the head demonstrations on the informal demo page. You'll see how everything fits together snugly.

• You tend to draw the eye sockets far too small - don't be afraid to draw them larger.

Aside from that, there is one overall issue that I picked up on across your drawings - your linework seems at times a little rushed and sketchy. I'm seeing a number of places where you're not enclosing your forms' outlines, where you put down multiple marks where only one should be (probably to correct mistakes, which is a bad habit to get into). In general I think you're not putting the time to apply the ghosting method consistently teach and every one of your marks. Regardless of whether we're drawing a simple box or a complicated animal, a line is always just a line and will always demand the same amount of attention and care.

I've laid out a number of things for you to think about and address in this critique - so I think the next step is to assign a few more pages for you to demonstrate your understanding of these points.