Jumping in with your form intersections, at this stage we do expect students will still have difficulty when dealing with intersections involving rounded forms, but to largely be more comfortable with those involving flat surfaces. By and large you appear to be falling into these expectations, although there are a number of points I want you to keep in mind for your intersections in general:

• You don't appear to be adhering to the ghosting method as strictly as you should be for your freehanded linework. While the absence of start/end points being defined in most cases (I can only see them in a few spots) doesn't inherently mean that the student isn't adhering to the spirit of the ghosting method, it being coupled with a tendency to struggle with your accuracy does suggest that you may not be going through the steps as mindfully as you could. That said, your marks are very confidently drawn, which is a good sign, you may just need to give yourself more time to execute each mark.

• The accuracy issues definitely do make the exercise more difficult, but more importantly than that they are causing you to make choices in attempting to roll with those inaccuracies that undermine the exercise somewhat. For example, with the ellipse you drew here falling outside of the sphere's silhouette, you adjusted the silhouette of the sphere to account for it. It would be better to allow that mistake to stand for itself, as often when we try to correct mistakes, we can subconsciously convince our brain that the mistake was less of an issue than it was, making it less likely that we'd adjust our behaviour (for example, by giving ourselves more time to go through the planning/preparation phases of the ghosting method) to avoid such issues in the future.

• When drawing the intersection lines, you tend to make them much darker, likely by going back over them multiple times. This is a minor issue, but in more than one way. Firstly, it deviates from how we are to use line weight in this course (where we don't trace over long sections of line to make it all arbitrarily darker, but rather concentrate that additional line weight to clarify specific overlaps). Secondly, in tracing back over them as you are here, you end up with a lot of wobbles that make it hard to identify exactly where the original mark was meant to fall. For example, here it appears as though the intersection line was drawn to specifically fall outside of the overlapping area between the forms (which would be incorrect - intersections would always fall within the area where both forms' silhouettes overlap), but upon closer inspection this may not have been intentional, but rather an issue where we can't really identify what was intended.

More broadly, when it comes to working on those more complex intersections involving rounded surfaces, what is required is largely a matter of going back to the core mechanics of what an intersection is: it's a path in 3D space that runs along the surface of both forms simultaneously. In order to think about that, we must first identify where our surfaces sit in space and how they deform in space, while also figuring out which parts are relevant to the problem at hand. This diagram demonstrates what I mean by this, in showing how while a sphere has many, many potential cross-sections for us to look at, it's the planes of the box which allow us to focus on two specific slices of the sphere. The diagram also demonstrates a different way to think about curving surfaces, by exploring them as a transition between different flat surfaces, like a sharp edge spread out across a greater distance.

Lastly, here are some additional notes on one of your pages for this exercise.

Continuing onto your object constructions, this is where the lesson really focuses on introducing students to the concept of precision, and what choices we can make in how we approach a construction to increase it as a factor. Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.

So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.

In our constructions here, we build up precision primarily through the use of the subdivisions. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study, then apply those same proportions to the object in three dimensions.

Now it's not strictly a binary concern, where you've either worked with 100% precision (everything plotted out very specifically and planned ahead of its execution), or 0% (everything being eyeballed, drawing the object directly with no underlying construction) - rather, it's more about the choices you can make to increase precision, and why doing so may be beneficial. That said, I did notice that your use of that subdivision was pretty sparse in most cases, with your most thorough being the pencil sharpener, toaster, label printer, and bookshelf (although it's unclear whether the latter two had orthographic plans, as their approach roughly suggests they might, though they weren't included in the submission).

So for example, looking at the toaster's buttons/lever, the steps you took to define the 3 matching buttons allowed you to align them more precisely such that they sit more centered within the left half of that panel, and kept the widths of the buttons consistent, but what was still left up to approximation was the height of each individual button, as well as the spacing between them. Similarly, with the lever slot, you did a good job of lining it up along the center of its own half of that panel, although the steps you followed don't strictly guarantee that it's actually fully centered on that line, and the same goes for the lever itself. Taking things a step further, the vent along the side panel of the toaster was centered based on the crossing diagonals, but the slots in the grate are arbitrary. All of which to say is, there are definitely much greater lengths one could opt to go to in order to push the precision of this construction, and while whether or not you'd go to those lengths is determined by our goals for the construction. In the case of what we're doing here, pushing yourself to increase that precision is definitely what we'd like to see, but we're more forgiving on that front in this lesson. In Lesson 7 however, it gets very intense, and the constructions can demand a ton more work, even just for the orthographic plans. In preparation for that, I do recommend doing some more involved object studies between then and now. You'll find a more detailed demonstration on this in this section, and as it can help to see other specific problems solved using the tools introduced in this lesson, this is a demo I did for a student who was having trouble figuring out how to approach laying out the pans in a watercolor set, which were tricky due to being laid out in two rows of six pans, but smaller gaps between pairs of pans.

Another point that did stand out to me is that there were cases where some of the boxes you employed as the basis for your constructions were admittedly somewhat wonky, for example this baby camera and this dyson fan. While a wonky box here and there isn't a huge concern, the reason I wanted to call this one out is because we can actually use our rulers to help with this - not just in terms of ensuring our lines are straight and smooth, but also in helping to judge our convergences. The ruler itself gives us a visible extension of the line we're about to draw, without ever having committed to it - and so, as long as we are actively thinking about how our lines extend in space, and how they converge together consistently in sets, this "free" extension can be very useful in avoiding significant issues of divergence. Of course, in addition to this, ensuring that you are keeping up with the exercise from the box challenge (constructing boxes + line extensions) as part of your regular warmup routine will help you to avoid cases where the boxes come out very obviously off, so if you aren't including them in your warmups already, you should be.

As this critique is getting quite long, I'll quickly jot out the last few points I have in brief:

• This section explains how we should be handling curves. You appear not to have applied the concepts from that section when dealing with the curved cutout from the base of your baby bookshelf, as well as with the handle for your kettle. That section also includes a demonstration for a curved mug handle that would be very useful for your kettle.

• Avoid filling in voids with solid black, and try to keep your solid black shapes reserved for cast shadows specifically.

As a whole, I do think that you have the capacity to apply the concepts from this lesson much better had you give yourself more time (given some of these objects, it looks like you might be a new parent, so I get why that might not be an easy thing to do), but as it stands you've applied enough of the concepts to suggest an underlying understanding of how they ought to be used, so I will still be marking this lesson as complete. That said, Lesson 7 is by design not an easy thing to complete - so no matter what, give those constructions as much time as they demand from you. Remember that there is nothing requiring you to complete a construction within any set amount of time, or within a single sitting. Spread the work out, complete it patiently and with care, and you will impress yourself with what you're capable of.