9:51 PM, Thursday September 21st 2023
I've got good news, and I've got bad news. The good news is that you've done an amazing job, and the bad news is that I can't actually see anything worth calling out as criticism, so I'm instead going to go over exactly why you did such a great job, and formally acknowledge the specific nails you're hitting so squarely on the head.
Starting with your form intersections, you're clearly demonstrating a strong awareness of how the intersections between these forms occurs not between the overall forms, but rather between individual pairs of surfaces. This relates to how a sphere is composed of three individual faces - the flat ends, and the length portion which is curved in one dimension and straight in the other. This is often what leads to all of the confusion relating to how forms intersect with one another, and you're clearly showing a strong grasp of how it works.
Continuing onto your object constructions, you've similarly grabbed the core focus of the lesson and run with it. This lesson is all about the concept of precision, and how we can approach our work and break up the process to increase that precision. Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.
So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.
In our constructions here, we build up precision primarily through the use of the subdivisions. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study, then apply those same proportions to the object in three dimensions.
Your use of orthographic plans clearly demonstrates that you understand the value this tool can provide, and that you can leverage it to great effect. I'm especially pleased to see things like where in the cutting board, you only added additional levels of subdivision where it was required, and avoided building up clutter where it did not really serve a purpose.
The last bit I wanted to credit you for is just the sheer amount of patience and care you've demonstrated throughout the process of your constructions. These are not quick things, and even though you clearly know what you're doing, it still demands a great investment of time. It is not at all uncommon for students to find situations like this to be especially difficult - where they know what they're doing, and so it may feel almost superficial to then go on to put the time into the work to demonstrate it. But it does matter, and the fact that you were wholly willing to do so speaks to your discipline, which will serve you extremely well in the future.
So with that, I'll go ahead and mark this challenge as complete. Keep up the great work!
Feel free to move onto the 25 wheel challenge, which is a prerequisite for Lesson 7.