For the form intersections, I actually don't mind students doing it either way. Whether with additional tools, or freehand, i mainly just want students thinking about the relationships between the forms. As a whole, it definitely seems you had an easier time of thinking through those intersections when working with rulers/etc, and that makes sense. If you don't have to worry about how the marks themselves have to be executed, you've got more freedom to think through the spatial problems (which is ultimately why I allow those tools in this lesson and those that follow).

All that means is that for the time being, the added challenge of freehanding the lines - that is, applying the ghosting method, drawing from your shoulder, etc. - is still taxing for you, and so you'll still want to continue practicing those quite a bit in your warmups. Eventually your comfort level with it all will get to a point where reaching for a ruler will actually be more distracting than simply making the marks freehand.

Moving onto your object constructions, as a whole I'm quite pleased with your results. Mind you I generally don't read too deeply into students' self critiques, simply because I don't want it to interfere with my own feedback, to make me inadvertently avoid mentioning certain issues you may have touched upon, etc, so you may see me repeat your own opinions or talk about things you've addressed yourself.

What stands out most is the fact that your constructions have a great deal of subdivision to them, which suggests that you are not shy or afraid to really dig into your constructions and pin down precise placement of the smaller forms. That is precisely what I want to see - some students at this stage are just getting used to subdividing a bit, so they're more likely to lean on an amount of approximation and guesswork, but you certainly put your nose to the grindstone here and pinned everything down with extreme precision.

The box cutter for example, specifically the curvature along its backside is coming along wonderfully. Admittedly the slider there is incorrect, but the way you opted to draw it is still entirely believable as a solid part of a real, three dimensional construction. There will inevitably be these situations where we find our proportions or other choices we've made stray from our reference image. That is completely normal, and what matters is how we contend with them. If we attempt to correct those mistakes, it suggests that we're more focused on replicating the reference image, which is not actually the focus of this course. If, however, we opt to go with the flow, to continue building upon the solid forms we've put down, in order to end up with a solid, believable result (even if it's not a perfect match), it shows that our focus is on conveying a real, three dimensional object. That's what you did, and you made the right call.

It is worth pointing out though that you did correct your box towards that back corner early on, which you should have left alone - but it was a fairly minor issue with minimal consequences.

When I initially looked at your JBL speaker (again, proportional issues here with your drawing coming out way wider, though that's still not a big deal), I noticed the fact that you kept the corners pretty sharp. The far corner appeared to be a little rounded, but other than that it seemed to have been overlooked, or skipped. As shown here, you simply have to define a few additional cut lines across from where the curve starts and ends. Similarly to how it's explained here in the lesson, you need to define the curve in terms of a series of straight lines (in this case, just the two that form the corner), and then run your curve between them. Given the tiny span we're covering, a french curve isn't even required for this (I honestly don't use french curves myself, but using one is just a matter of finding a part of the curve that matches the path you want to follow, lining it up with your intended path and drawing along it like a ruler).

I did note that you handled those rounded corners very well in your HDD drawing later on. Speaking of the HDD, my only issue there is that the rings on the side were definitely drawn much too large. Drawing a line across to define one side of the rounded corner as shown here would help to better understand just how much flat surface you actually have to work with. In this case, the corners were probably a bit too rounded (and should have been somewhat tighter, giving you more physical space along the front) - that's not a problem, of course, as these things happen, but the rings should have been smaller to compensate.

Before I finish up, just one last thing - when adding the bars of solid black along the curvature of this bottle, and really when using any large areas of solid black, I strongly recommend first outlining the shapes more intentionally, then filling them in. Our drawings are highly structured and intentional, so taking a sharp turn to use the erratic nature of your brush pen here results in a pretty strong stylistic contradiction. As shown here, those kinds of vertical bars also just work better if they're more structured, running all the way along the length of the cylindrical form.

Anyway! All in all I am very happy with your results. So, I'll go ahead and mark this lesson as complete.