Starting with your form intersections, these are mostly looking quite good. My only issue here is that when it comes to how you add line weight, remember two things:

• Line weight serves a specific purpose - to clarify how forms overlap in specific, localized areas. So focus it where forms are overlapping, not to arbitrarily reinforce the silhouette of the form.

• Like all marks, it should be executed using the ghosting method to ensure that your marks are confident and smooth. I'm seeing you tracing slowly and hesitantly along a lot of your ellipses, often where it's not really necessary. Doing so will imbue those marks with the same hesitation, making them feel less solid.

Actually, you do appear to be doing it more correctly after the first page - so perhaps it wasn't even worth calling out. But hey, what's done is done.

Continuing onto your object constructions, overall you're doing a pretty good job. I can see that with the first couple of constructions you were getting in the swing of things, but from the kettle onwards, you definitely got a strong grasp of how to approach these constructions and how to manage your line weights. Most of your constructions end up feeling quite solid and sturdy, although there are some exceptions - the mirror was understandably tough, as ellipses always make things difficult. The proportions however were also quite far off, with the mirror itself coming off squashed instead of circular.

I'm really fond of your measuring tape. The linework is very precise (excellent use of a ruler), and the whole construction feels very solid. The top ellipse for its body did come out a little wonky though - this of course is the sort of thing that will continue to improve with practice, but be sure to execute those ellipses with your whole arm. It's easy to slip back into doing it from your elbow when you're concerned with precision.

The scoop/spoon/thing at the end was similarly well constructed, and it actually brings me to the last point I wanted to highlight. While in this drawing, you've properly reserved your filled areas of solid black for cast shadows only, in other drawings you've been mixing it up, using it for form shading as well. Remember that as discussed back in lesson 2, we are leaving form shading out of our drawings in this course. By focusing only on cast shadows, we're able to keep our use of that tool more consistent, providing the viewer with a more reliable idea of what everything means. It also happens that cast shadows just work better. As you can see here, focusing on the external cast shadows and leaving the forms' silhouettes empty still allows us to establish how the form exists in 3D space, while also establishing its relationship with the surfaces around it.

There are some things that came up in the demos that might be a bit confusing on this front. For example, on the bluetooth speaker drawing, I used what is basically hatching to communicate the higher reflectivity along the rounded corners. While this doesn't fall into those rigid "rules", it can be a useful tool - just one to use sparingly. It's basically a simulation of reflections on the surface, and any such tool should be used very carefully to avoid overdoing it.

Aside from those points, as a whole I'm quite pleased with your results. I'm going to go ahead and mark this lesson as complete. I do however recommend that if at all possible, you pick up an ellipse guide for the wheel challenge, as I can see you weren't employing one here. Full ellipse guide sets are expensive, but most students here employ a "master ellipse template". That is, a single sheet that has many different degrees cut out it, but is more limited in terms of overall scale. Despite being smaller, they'll make the 25 wheel challenge much less difficult and will help you focus on the core of the exercise, rather than worrying about freehanding your ellipses (for which we already have other exercises one can do). And of course, a master ellipse template is also way more affordable.