To start, I really appreciate the kind words in your post, and I'm glad to have had an impact on you. What you mentioned at the end there - developing the ability to be okay with making mistakes, and to respect them as an important, valuable part of the process - is really more than just a happy accident. With Drawabox it is one of my primary goals to help students develop a healthy mindset towards learning, as I feel it is an integral part of developing your skillset as you continue to move forwards beyond this course.

So! Let's get started with your submission.

Starting with the form intersections, these are looking pretty good - your linework is concise and well planned out, for the most part, although your larger circular ellipses are still a bit loose. This is entirely understandable and normal though - larger circles are by their very nature demanding and challenging, and so this does not stand out as anything abnormal even at this stage in the course. The intersections demonstrate a strong understanding of how these forms interact with one another. There are some you're not quite nailing, on the more complex end of the spectrum, but the vast majority of them are well done. Here are a couple outlined that are a little off.

Your cylinders in bodxes are well done, with a good intuitive sense of how to construct boxes that have square ends. 4 is a bit cheeky of you, to be honest, and 5 has that edge going off on its own, but the others, especially 1 and 2 are very well constructed.

Moving onto the actual meat of this lesson, overall I'm actually very pleased with your work here. The first drawing - your hell torture - shows right off the get-go that you have a solid, confident grasp of how to leverage these forms together, and how to apply the subdivision with considerable patience and care, to build something solid and believable. It shows an excellent grasp of 3D space and how to work within it, and without a single concrete vanishing point on the page.

Skipping on down through some of these other basic vehicle constructions, the plane is the only one that has a noticeable issue, and it's a pretty common one. The wingspan of airplanes is notoriously difficult to pin down, and it actually requires one to look at the reference and try to draw a straight line right across the photo to find what the tip of the wings actually lines up with. Finding landmarks like this can help immensely to pin down precisely how long these wings need to be, and without that it's basically anyone's guess. Here there's also the factor that you were probably a little too close to the edge of the page, which also made it tricky. Either way, I do think these wings are a bit too short, and perhaps not quite thick enough. Just something to keep in mind.

Getting into your more detailed drawings is where we run into some small issues, although I'm fairly confident in how you've dealt with these throughout the drawings, and I feel you improved upon them a great deal. With the bentley, what stands out most is how a lot of the lines feel somewhat approximated. It's not that you're not capturing the bulk and sturdiness of the vehicle, it's more that, especially towards the front, the lines don't feel executed quite as precisely as I know you're capable of. A lot of the curves feel a bit uncertain.

A better way to have approached this would have been, especially with this particular car, to draw it first without the curves. That is, building up boxes arranged to fit the car tightly within it, and then only at the last step rounding out its corners. It all comes back to what was mentioned here in Lesson 6 - that a curve is just an infinite possibility of straight lines. So to pin down a curve that actually feels specific and precise, you must first start with the specific set of straight lines, and then round them off.

We can actually see some of this in action towards the top of the double decker london bus, to a point, and in general I feel like your handling of the curves throughout this drawing - especially towards the front of the bus around the headlights, is much improved. Also very responsible of you to have the ghost inside to be wearing what appears to be a mask.

Continuing on, I do feel like a number of your cars would have benefitted from this extra intermediary step of being built in boxes, or rather out of flat surfaces. The smart car definitely stands out in this regard. It was still quite well drawn with a good sense of solidity and a strong illusion that it is three dimensional, although it does feel just a little more like a nice roast you've picked up at the grocery store - you know the kind held together with twine, and bulging out around it a little? It feels a bit more organic than something machine-made.

The Tesla definitely went a bit awry in terms of being skewed and distorted, but if we look past that, all of the parts are there. I'm especially fond of the headlights and the grill up front, although I can definitely see a few places where you've gone back over lines or approached them just a little bit sketchily. Always remember to apply the ghosting method for each and every mark, and to accept that things go wrong sometimes. Fixing mistakes usually isn't the best call, as it only draws attention to this fact.

The ship was definitely a nice change of pace, although I can certainly imagine that drawing it even using the full page as you did must have been challenging. There are a lot of places where you were forced to work with simple straight lines instead of forms, or where there was no room to convey the thickness of a lip or railing. This is one of those cases where rather than drawing forms, it might be more effective to approach things more texturally - that is to say, relying more on implying the presence of forms with cast shadows rather than constructing everything in full. I remember running into similar problems when tackling this poster for the fictional Squatter's Guild for my web comic. General sketchiness and looseness aside, you'll notice how I emphasize the cast shadows a lot, and don't necessarily define everything in full. It's often more suitable to do that when you know you won't have adequate space to apply proper construction or explicit drawing techniques. This is similar to why we leverage implicit drawing techniques in our textures - there is just too much, and not enough room, to be captured.

This critique certainly is getting long, so I'm going to go move onto the end. The motorbike there admittedly is still somewhat sketchy in places, but extremely solid and well built all the same. This particular subject is challenging to say the least, and I think you've done a fantastic job of pinning down a lot of its intricacies and maintaining the illusion that it is real, 3D, and entirely believable.

Last of all, I think the freightliner is what I believe to be the most successful drawing of the lot. While you're still not really boxing things out, the curves here feel much more precise and clear, and in most places the sketchiness is no longer present. You've captured an incredible degree of detail without appearing to be haphazard - everything is right in its place. My only complaint is that when filling in the cab with solid black, you fell into a bit of a trap. It's really important that when making that decision to fill something like that in with black, you take care to allow for small suggestive shapes there. The bump of the dashboard, a cut-out for the passenger side window, and so on. Just filling it in with solid black really removes any of the find complexity we could have had there, which is a shame. Still, this construction is exceptionally well done.

So! With that, I say congratulations. You've completed Lesson 7, and with it all of the Drawabox course. There are some optional challenges left (mainly the 100 chest challenge), but you are not by any means required to do them. I wish you the best of luck on your application, and I'm certain you'll get in. I don't think schools really expect their applicants to have such a strong, confident understanding of form, linework and construction, so I'm sure you'll blow your competition out of the water.