Starting with your form intersections, by and large these are looking really good - the intersection lines themselves speak to an especially well developing understanding of those spatial relationships. You're even handling those involving curving surfaces quite well, and they're no easy challenge. I have just one thing for you to keep in mind - right now you're keeping your parallel lines roughly parallel on the page, and that's incorrect - a vanishing point will only go to infinity (resulting in lines parallel on the page) when the edges it governs run perpendicular to the viewer's angle of sight, instead of slanting towards or away from the viewer in any capacity. Since none of these boxes feature lines of that sort, there should be at least some minor convergence to them, even if it's very shallow and gradual.

Continuing onto your object constructions, as a whole you've really knocked this out of the park, and I can assure you that I am not remotely concerned with whatever little blotches the cheaper pens might produce. At the end of the day, this lesson focuses on one thing: precision.

Precision and accuracy are different, though many people conflate them. Where accuracy speaks to how closely we achieved the mark we intended to make, precision is more to do with the steps leading up to its execution, and how specifically we actually defined our intentions. So for example, during the ghosting method's planning phase, we specifically identify the intended start and end points. The act of making that decision ahead of time contributes to the precision of our drawings.

That is why your lamp - despite the little issues and inaccuracies in where certain things were placed - is still highly precise.

In this lesson, we take that kind of precision and put it on steroids - we work towards finding specific positions based on intentional subdivisions and mirroring measurements across specific axes. And to that, you've done a fantastic job. Many students hitting this lesson aren't necessarily ready for the level of precision we ask for, especially considering that we're coming from lessons that tackle organic concepts, and as such are far more forgiving and less concerned with the specificity of where/how different forms are placed.

You however don't appear to have batted an eye at what was asked, and you fulfilled it exceptionally well. Not only that - you held to it even when catching and addressing mistakes. For example, in your clock, you cut down your bounding box using the same techniques, resulting in a continued, high level of spatial integrity. The other acceptable resolution here would be to make your clock double-thick, committing to the decision already made - but simply cutting the box in half was entirely acceptable as well.

To be completely honest, I've been scrolling through the set as I typed out my critique, so when I hit the hand-vac, it was an especially pleasant surprise. Not only does it continue to exhibit the same qualities I've been gushing over, it is by far the most complex object here, and it features as much structural integrity as anything else.

There's really only one complaint that I have, and it's a fairly minor one - you skipped a step when constructing your flashlight. I believe it's fair to assume that the handle is meant to be a cylinder that maintains a consistent radius throughout its length, but as you drew it, assuming that the box itself is rectilinear rather than tapered (and we have no reason to think otherwise), the handle would actually get wider the further back we go, as it expands from a smaller portion of the box closer to the head, to the full space at the back.

So! With that, I'll go ahead and mark this lesson as complete. Keep up the fantastic work.