At first glance, the scale issue for some of your drawings definitely stood out. Remember above all else that students' single responsibility for this course is to execute each drawing to the best of their current ability. Factors such as how long a drawing takes, how much room it requires on the page, etc. should conform to what you're drawing, rather than your own circumstances. Meaning, just as we need to be taking as long as we need to complete a drawing to the best of our ability, so too should we be working with paper that allows us ample room to think through spatial problems. I'm not going to bring up the thickness of the lines relative to the overall drawings in my critique beyond this, but I do want to point out that it does generally result in clumsier linework and construction. Anyway, onto the critique.

Starting with your form intersections, these are done quite well for the most part, but I do want to call out a few things:

• When it comes to the use of line weight, always focus it primarily on clarifying areas where different forms overlap one another. You've done this for the most part, but I did notice a few places - particularly when dealing with spheres or ellipses - where you were attempting to trace back over the perimeter of a given shape more slowly and hesitantly. This kind of tracing focuses too much on how the line itself exists on the flat page, rather than how it represents an edge in 3D space, and that hesitation will stiffen your linework. Every freehanded mark - including line weight - should be executed using the ghosting method to ensure a confident stroke.

• This only happened a couple times so it's no big deal, but make sure your minor axis line for your cylinders/cones cuts through any relevant ellipses, rather than stopping in the middle of a given ellipse.

Moving onto your object constructions, I can see that with some of these you ended up doing your construction lines with one colour, then going back over it to do the final drawing or a sort of clean-up pass with a black fineliner. That, unfortunately, is precisely what I mentioned you should not be doing in the section where I give permission to use ballpoint pens and other tools. This falls back to similar issues as what I mentioned for the form intersections - tracing back over existing linework focuses too much on how those lines sit on the flat page, and in the case of freehanding, can stiffen your constructions.

Now, aside from the issues I've addressed above, the rest of your lesson's work is actually very well done. The construction itself is patient and careful throughout most of these, and you've taken a great deal of time to subdivide the structures as needed to build everything out to a high degree of precision.

The only one I felt fell short of this standard was this one, where you went to some lengths to lay down the framework in green for this structure, but then ended up skipping quite a few steps, estimating quite a bit by eye (this lesson is very much about pinning everything down in specific terms as you did in other constructions) and from what I can see, you didn't entirely draw through your forms here. I can see that for the back-left leg you did appear to draw it but you placed it incorrectly, placing it at the halfway point of the enclosing box rather than the actual back left corner.

That one aside, the rest is quite well executed, and you've shown a good deal of care. The only other thing I want to insist upon is that in this course, try to reserve the filled black shapes for cast shadows only. Given our limited supplies here, when viewers look upon drawings like this they'll generally interpret the solid black shapes as being cast shadows, and it'll take a moment for them to register when they don't work as expected. It's only at that point that they try to assess them as representing other things (like shading, local colour, etc.) but by that point you've already lost them somewhat. By sticking to what they're going to expect, you can maintain a consistent impression. So leave any kind of local/surface colour aside and treat your constructions as though they're covered in the same white colour, and leave your filled shapes for cast shadows alone.

So! I have indeed called out a number of things for you to keep in mind, but all in all I'm happy to mark this lesson as complete. I would however recommend that if you're unable to find somewhere to be able to do your work for the course as normal, stick to doing other drawings/warmups/etc. until you are back from your travels rather than pushing forward on the course. The time you do spend on course work should be, as much as possible, geared towards doing it at your best without side considerations.