Jumping right in with your form intersections, these are largely coming along very well. You're drawing the individual forms with confidence, mindful of how they all sit within the same space (and thus establishing their scale in a consistent manner, without the foreshortening throwing things out of whack), and most importantly the intersection lines do a great job for the most part of establishing a strong sense of how they all relate to one another within their shared 3D world.

There are a couple intersections that are off, but the vast majority of them are quite well done. I've highlighted them here (one of them was the one you marked with an asterisk) - the main thing to keep in mind is how the different forms' surfaces move through space in different dimensions. For example, a cylinder will have a curve along one axis, and a straight run along the other. While it's a lot easier said than done, intersections are at their core about breaking those surfaces down into their individual directions and figuring out which ones go where.

For the cylinder-box intersection, in the section you got wrong, you were focusing only on the curvature of the cylinder - but we needed to draw a line that runs along the surface of both forms simultaneously, meaning we need to make sure it clings along the surface of the box as well.

Continuing on, your cylinders in boxes are coming along nicely - still lots of room for growth in terms of refining your instincts in regards to the box's proportions (which is why your ellipses' line extensions still go off on their own), but that's pretty normal even now.

Moving onto the basic form intersection vehicles, these are exceptionally well done. You've broken each structure down into its core primitive elements, and have done a great job of really pushing that granularity while sticking to the heart of the exercise itself. You were also quite particular in your use of subdivision, allowing for excellet precision that carried over into the more detailed, developed vehicle studies.

When it comes to mistakes to point out, I don't have many, and the ones I do have are more suggestions than anything else, within the context of what we're doing in this course. I will however take a moment to call one particular thing out, and it's more about how you're approaching self-critiquing these constructions.

One of the most important things about Drawabox (at least in terms of understanding what it is what we're striving to do here) is that following the reference and its proportions perfectly (or failing to in various ways) is not actually a problem. So for example, you noted issues in the coast guard boat's proportions, with the pilothouse coming out a little shorter than you intended, and there's the definite mistake of extending this car more than it ought to have been. While these are things to be aware of, in making these mistakes you have not strayed at all from the core focus of the exercise at hand.

We are not by any means trying to replicate the object in the reference perfectly. Rather, that reference image is a source of information, from which we construct something on the page that feels solid and tanigble, while maintaining a lot of the complexity that makes it feel real. Stretching your car out, or changing the positioning of a pilothouse do not interfere with this - at least, not much. Sure, a very long car seems strange, but you still nailed the construction to the point that it feels more like whoever designed/built this car goofed, and you merely documented their mistake very faithfully. If anything, those mistakes emphasize just how strong of a grasp you've developed over how to build things up in 3D space.

As for the suggestions I have:

• When it comes to using filled shapes of solid black, it is always best - at least in the context of this course and its specific limited toolsets - to reserve them for capturing cast shadow shapes specifically. In the majority of cases, these shadow shapes would themselves be a separate shape that we design, which establishes the relationship between the form casting it and the surface it is cast upon. That is, as opposed to merely finding spaces in our drawing that already exist and filling them in, like in this car's grill and this truck's wheelwells. This isn't something I'm calling out as a mistake, simply because not all of my demos have stuck to this, as it's something that has emerged over the years as being a better choice, as I've revised and reviewed how these things are handled. I'm currently working through a full overhaul of the course material from start to finish (slow going as it is) to eliminate any such contradictions, to the best of my ability.

• I figured I should break this into a couple points for the sake of readability - the reason for sticking to using filled black areas for cast shadows only is that it comes down to the fact that we're working strictly in pure white and pure black. The viewer, given these limitations, will generally assume that what they're looking at is a cast shadow, until they realize that it isn't, and then they'll figure out what else it might signify. This may only take a few miliseconds of cognitive processing, but we do want to ensure that the viewer can read and understand what we've drawn as quickly and directly as possible, without such hurdles.

• There are certain exceptions... but they're not really exceptions. For example, filling in the interior of a vehicle with black (or rather, filling in the silhouettes of forms in there with black, as you've done throughout the lesson) is perfectly okay. The reason it works out is because it gives the impression that it is indeed a cast shadow, but that being interior to the vehicle, it's the vehicle's structure that is filling it in with shadow. The fact that we can still see some gaps/holes for the windows and such helps solidify this impression.

• Moving on from that, there's one last thing I wanted to call out - if I'm being especially nitpicky. If you look at this crop of your cab-over truck, I've drawn three lines right on the construction. There's two straight lines (green and blue), and then an orange line that traces over the edge you'd drawn. Right now, the relationship between that orange line and the existing "boxy" structure is quite weak. It should either cling more closely to the blue or green lines, only really rounding off the corner as shown in the quick demonstration up at the top. This relates to a point I did call out back in your Lesson 6 work - although in retrospect I meant to point you to this explanation of the concept from the Lesson 6 notes, but I must have been distracted and forgot to actually include the link. Either way, this is not an issue I saw coming up often - so again, I'm really just nitpicking.

All in all your work here is phenomenal and you should be extremely proud of what you've achieved. I am happy to mark this lesson - and the course with it - as complete, and I am very proud to have had you as a student. Though, as I understand it, it seems you're not done just yet!