Thank you for the kind words! I'm glad that Drawabox has been able to make a meaningful difference in your life.

Jumping right in with your work, your form intersections are demonstrating a very strong, consistent understanding of the relationships between the forms you're working with, both in terms of establishing intersections between different flat surfaces, between flat-and-round surfaces, and those involving two round surfaces. Continuing onto your cylinders in boxes, your work here is mostly fine except for one key issue in your approach that you will want to keep in mind - for the purposes of ensuring that the line extensions (which you are otherwise applying correctly) to be useful, the ellipses you draw must touch all four edges of the plane enclosing them. The challenge is not about drawing the correct ellipse regardless of the box, but rather to draw the ellipse the box demands. Remember - our goal here is to draw boxes themselves that feature ends that are proportionally square.

Carrying onto the rest of your work, you've really done a great job. You mentioned initially working with as much precision as you reasonably could - while the lesson material currently doesn't go as far as that, it's a very good thing that you did, and it is what I will eventually update the lesson to reflect (when my demo content/video overhaul gets out of boxland and makes its way all the way here). In effect, by being extremely precise and intentional with every choice we make, we train our instincts to develop a strong, reliable understanding of 3D space even when we decide to be a little quicker, a little more instinctual, and a little more loose. Ultimately the purpose of the course is to drill those principles ad nauseum, and to a truly tedious point so as to fundamentally restructure how we, in our most careless moments, engage with the things we draw.

It's precisely that which made the less strict drawings flow more smoothly, and what will ultimately help you focus on what it is you're trying to design in your own concept art, rather than all of the nitty-gritty of putting it on the page. The goal is to have your subconscious brain handle all of the specifics, while your conscious brain focuses on what it is you're trying to draw - not how.

I think you really lean most heavily into that degree of precision and care in your formula 1 race car, and the sheer depth of decision making you've drilled into here is exceptional. I'm also extremely pleased with the way in which you've approached your orthographic plans and analyses, as they show that you're making that kind of clear, specific decision making as early as possible, making the actual construction - which is still no doubt time consuming as all hell - at least more straightforward.

When it comes to the cases where you approached the work more loosely (with more drawing from observation, relating back to the guidelines rather than being as strict with every edge you laid down, there certainly is a difference in the solidity of the results, as well as a tendency to perhaps think less about the specific 3D nature of the smaller elements that are present.

I also noticed some little discrepancies - so for example here we can see that the form protruding from the front section of the car is much closer to the front plane of your bounding box on the right, but quite a bit farther away along the right. There is going to be a widening on that end which can make the whole closer = larger, farther = smaller rule a little weird (it's the reason we get a degree shift in our cylinder's ellipses), but here it definitely seems like due to the heavier approximation/eyeballing in the drawing process, you ended up with some lopsidedness. Though in all fairness, it's not really especially noticeable by the naked eye.

So! When you do periodically indulge in these kinds of exercises, I would certainly encourage you to use that specificity that you're more familiar with, and which you exhibited in the formula 1 car, in this fighter plane, etc. When you're drawing your own stuff, sketching out concept art, etc. however you should absolutely feel free to be as loose as you wish there. The more precision you focus on in your exercises, the easier that will become in practice.

And with that, I'll go ahead and mark this lesson as complete - and with it, the course as a whole. You've done a great job, and have clearly demonstrated a strong understanding of the material. Congratulations!