It will be really interesting to get feedback on this, as there are many different ways to draw the same object - I am sure I could have done things more efficiently.

I want to start off by reminding you that this lesson isn't about drawing specific kinds of objects, just as lesson 5 isn't about learning how to draw animals. Each and every drawing is at its core, an exercise in spatial reasoning. So we're not really concerned with which route you took to get to your eventual result, and whether or not it was the most efficient path. Instead, it's more like being given a puzzle to solve, and in doing so you're forcing your brain to work in 3D space, while drawing on a flat page. And to that end, you've done a pretty solid job.

Starting with your form intersections, you've done a great job in exploring the relationships between these forms, and the intersections themselves suggest a strong grasp of how these forms interact in 3D space. My only concern here is actually pretty superfluous - it's how you applied line weight, with a visible jump from the greater thickness to the original line. As explained here, be sure to draw those additional marks with confidence such that the stroke tapers at both ends, allowing them to blend more seamlessly. You were able to do this more successfully in some cases, but not often enough.

Additionally, I noticed that you did end up with some areas where you drew back over a stroke several times, ostensibly to correct a mistake (and even crossed one out). Don't do this - once a mark is on the page, it is committed. To go back over it will simply draw more attention to it, emphasizing contradictions within your construction.

Starting with your cola can, this was really well constructed - very effective use of ellipses. The only thing I wanted to remark upon was the big strip of solid black down the side. Now, I suspect you were trying to do something similar to what I showed on the rounded corners of my speaker demo, but it doesn't really work with just one bar. As shown here, it's basically meant to simulate the reflections on a particularly shiny, reflective surface. It needs to involve several different bars, often of different thicknesses, to be particularly effective.

For your medical tape, again the construction was quite well done, though I've got two minor points to mention:

• The cast shadow on the ground is entirely inconsistent with the shadow being cast by the tape's axle. On top of that, the cast shadow on the ground actually doesn't really seem entirely natural - while it might ostensibly be achievable with a particularly low light source, but it's worth considering what kind of light source is going to help your presentation. The one you chose for the axle (a high light source above the object) was definitely more suitable to presenting this object nicely.

• On the inside of the axle (the hole on the side of the dispenser facing the viewer), you've got some little hatching lines in there. I always try and encourage students to draw hatching lines, when they do decide to use them, such that they fall between other clearly defined lines on both sides, instead of just stopping at some arbitrary distance. In this case, I probably would have done something similar to the soda can's reflection-type hatching, concentrating only at a certain part of the curve and stretching the bars all the way across.

Jumping down to your bluetooth speaker, your overall construction is still looking fine, but I do have two more minor points to offer:

• Try not to use solid black to fill in a face, or a space either inside of a construction or between objects. In this case, you used solid black to fill in the entire face along the inside of the front rim of the speaker. Reserve your solid, filled, black shapes for cast shadows, and where applicable, for those curved surfaces as discussed in the soda can. This allows us to keep a more limited set of possibilities for the viewer's brain to go through when interpreting a mark. If they immediately think "shadow shape" when they see a filled black area, they'll be able to parse it more clearly.

• The buttons along the top appear to be quite flat, like they're at the same level as the surface behind them. I'm unsure of whether this is intentional or not, but that is in itself the issue. Always think about the spatial relationships you want to define between your surfaces and forms, and do what you can to make them appear intentional and obvious. The goal is, after all, communicating with the viewer.

The rest of your submission is much the same, in that your constructions are exceptionally well done, and laid out with precision. I'm especially happy with the headphones, and the very fact that you stuck it out for a full 4 hours is deeply impressive and heartening. It means that you're going to have the endurance to knock out the painfully long constructions you will have to contend with in the last lesson.

There is just one last point I wanted to call out - where I gave permission in the lesson for the use of ballpoint pens, I mentioned this:

Ballpoint pen for your linework (don't switch pens to do any sort of "clean-up" pass - use the same pen through all your lines, including construction/box subdivision/etc)

It seemed you miss this. I definitely don't want you to go back over your drawings with a different, thicker pen. Focus on using line weight alone - meaning, clarifying specific overlaps rather than tracing back over whole lines - to make your object stand out from its construction. The reason is that tracing itself tends to make students focus too much on how a line exists on the flat page, rather than how it represents an edge in 3D space - and to a point, I can see that occurring in your drawings as well.

So! I'll go ahead and mark this lesson as complete. Keep up the great work.