Starting with your form intersections, your work is looking great! While there aren't a whole lot of forms present on the page, that's not a huge concern, as you're still making good use of the space available to you (and taking advantage of it to draw bigger, which is always good for working through spatial problems and engaging your whole arm while drawing). You're also demonstrating a solid grasp of how these forms relate to one another through the intersection lines themselves. Very nicely done.

Continuing onto your object constructions, as a whole I'm very pleased with what I'm seeing - and what I'm seeing is a good deal of patience and care being put into working through each stage of your construction. This lesson is the first one that really demands precision from students. Where the previous lessons allow students to work a little more loosely in terms of where their forms fall relative to one another, here we ask students to plot those things out through subdivision, to determine exactly how they intend everything to fit together, and there are many students for whom that's a lot to ask. In some cases, they'll start out with the bounding box, and subdivide a little, but will eventually find themselves hitting a point where they feel they've done enough, and will eyeball/approximate everything past that point. You have reached no such threshold, and instead have done a great job of working through all of the steps mindfully, and patiently, and as a result your constructions have come out as solid structures, even down to many of the smaller details.

I'm especially pleased with how you're tackling things like rounded corners - they often seem like a minimal concern, so students often take shortcuts with them, but you've been mindful of blocking everything out with straight edges, only rounding them out towards the end. We can see this in this USB power adapter and this toaster for instance, though the same principles are visible throughout your work.

I have just a couple suggestions for you to keep in mind as you continue to move forwards, though they're fairly minor:

  • When it comes to the use of solid black, remember that we're primarily focusing these on capturing cast shadows, and that we're actively avoiding employing form shading in our drawings (as explained back in Lesson 2. I think there are some cases where you confuse the two a little, ending up filling in existing planes of your forms (like here on the barrel stand and here in your camera. Now this is something I see from students on occasion - they may be trying to focus on cast shadows, but end up mixing them up. The thing to remember is that generally speaking, you're not going to be filling in an existing shape that is already defined in your construction (in the way that a particular plane of a form already has its own outlines). Instead, you're going to be drawing a new shape, then filling it in. It's that shape which defines the relationship between the form casting the shadow, and the surface receiving it, which is what makes cast shadows so powerful. It's also what the viewer will generally assume they're looking at when they see a filled shape, so it's best to lean into their expectations. When they realize that what they're looking at isn't a cast shadow, they'll start figuring out what else it might be representing - though by that point, we've already kind of lost an amount of their suspension of disbelief. This of course is specific to how we're drawing throughout this course, given the stark black/white of our constructions, so it is definitely a stylistic thing that doesn't necessarily apply in other situations, so again, not a huge concern.

  • The other point is about where you've used the technique that was vaguely touched upon in the bluetooth speaker demo, using black bars to convey the curvature of the surface. This technically breaks the "rule" from the previous point, but it does so to serve a specific purpose. As such, it should be used quite sparingly, only when necessary. It basically applies the principles of hatching as explained here, specifically to take a situation where the viewer may not already understand that what they're looking at is rounded, and make that a bit clearer. In cases like cylinders, it's not really necessary, and becomes somewhat overkill, because the existing ellipses already clearly define the length as being rounded. In the case of gently rounded corners of an otherwise boxy form, however, it may be quite useful. So just try to be a little more selective in the use of this approach, and with any approach that breaks the "rules". That is to say, nothing's really a "hard" rule but you always need to have a good reason for breaking them when you do.

Aside from that, great work! I'll go ahead and mark this lesson as complete.