This lesson may have been the toughest of the bunch, but where you've definitely struggled to varying degrees in the past, I think this lesson clearly shows that you have indeed absorbed a great deal throughout the course, and is probably among your most successful. There are some things that can certainly be improved though, so let's jump into it.

Starting with your form intersections, you're demonstrating a pretty good grasp of how these forms relate to one another, and defining them well with the intersection lines. At least, for the most part - here we can see that the curving line along the right side of the box goes off the surface of the sphere entirely, which is certainly wrong, as intersection lines must remain on the surface of both relevant forms at all times. This does look to just be a one-time hiccup however.

The other point of concern is simply that you're a little loose and haphazard with your linework. It's not bad, but it does show that you're not allowing yourself to be a little lax with your freehanded linework - especially when you go over your lines multiple times. Remember - if you're freehanding, you're using the ghosting method, and if you're using the ghosting method, you are not putting any marks down that you haven't separately planned/prepared for. Yes, that certainly takes time, but there is nothing in this course that is not inherently time consuming, as that is what learning demands.

Continuing onto your cylinders in boxes, just one thing here - the way you're drawing your boxes suggests that you're actively trying to avoid any convergence to their lines, and are effectively trying to force the vanishing points to infinity to work in a sort of 0-point perspective. This is incorrect, as we do not actually directly control our vanishing points. Rather, we control our intended orientation for a given form, or a given set of parallel edges in 3D space, and it's that orientation which dictates where the vanishing points will be. It's only a limited set of orientations - those that run perpendicular to the angle at which the viewer's looking out into the world - that allows for a vanishing point to be at infinity, and for the lines that represent those edges to be parallel on the page as well. That can be achieved for one, or even two sets of edges (resulting in 2 and 1 point perspective respectively), but these require an extremely specific orientation, and given that we're rotating our boxes randomly in this exercise, it's unlikely for us to end up with such a perfect alignment, and we're better off accepting that all of our lines will have a bit of convergence at the very least.

0 point perspective itself simply doesn't exist, as having two of the vanishing points at infinity would force the third to be right there in the page.

Continuing onto your actual vehicle constructions, I can definitely see that you've approached these constructions in stages, building up to the complexity in stages and building out that structure through the use of subdivision with a fair bit of precision. I can also see that you are generally starting things out boxier and applying curvature only towards the end, once the specific structure has been established in terms of flat surfaces.

There are a few things I want you to keep in mind however:

• Firstly, like in the form intersections, I'm seeing a tendency towards allowing yourself to draw more reflexively at times, resulting in you going back over your marks quite a bit, which as discussed already should not be happening. In fact, if you're drawing straight lines freehand for these constructions, you shouldn't be - you should be taking advantage of the fact that the lesson actively encourages students to use a ruler. Not only will this allow you to focus all of your mental resources on the specific concepts we're tackling in this lesson, but it will also give you the benefit of having a visible extension of any line you wish to draw, without first having to draw it. That is, when putting your ruler down you can see what direction it extends off, allowing you to judge how it converges with the other edges. Now, I'm not saying you haven't done this, but because you are entirely capable of freehanding straight, smooth lines, it's hard to tell the difference. All I do know for sure is that there are some straight lines you've freehanded due to the fact that you've gone back over some of them automatically (again, as you definitely should not be doing in this course).

• Secondly, as noted here, it's recommended to use ballpoint, but switching pens to a thicker one to go back over your linework should be avoided. You did fine in this regard in cases like the bulldozer, but in cases like this porsche and this helicopter I can see that you did go back in with at least a partial clean-up pass. Additionally, keep in mind that your filled areas of solid black should be reserved only for cast shadows (that's a restriction in this course, not one in general) - it should not be used for form shading or capturing local colour. So generally speaking those filled areas of solid black are going to be new shapes that you design based on your understanding of the spatial relationship between the form casting the shadow and the surface receiving it. If you find yourself filling in a shape that is already present in your drawing, you should take a step back and ask yourself if you're really capturing a cast shadow. The big exception to this is where when dealing with the interior, we often just fill it in with black - though we can argue that this is the outside structure casting shadows into the interior, but really it just helps us clarify the drawing while remaining (arguably) within those rules.

Now, in general I think you're clearly demonstrating that you're understanding the concepts in this course. My biggest concern is just that while you have certainly demonstrated a greater capacity for patience and care in your work than you may have in the past, you're still very prone to rushing - that is, not allowing the work to dictate how much time it should take, but rather allowing other factors to influence how you approach the work. So for example, you might feel that you should be able to get the work done in a certain amount of time, or you may feel a nebulous sense that "this shouldn't take this long". The only thing that matters is how long you need to do the work to the best of your current ability. If spending an extra 5 minutes, 10 minutes, 30 minutes, an hour, whatever - if it means you can better demonstrate the limits of your current skillset, then that is what this course requires of you.

The reason for that is simple - the purpose of the course is not to demonstrate that you can apply the skills involved, and that your spatial reasoning skills have improved. Rather, it's to demonstrate that you understand the exercises (constructional drawing is itself an exercise after all) and how to get the most out of them, so that I can mark the lesson as complete with confidence that going forward on your own, you'll be able to continue to apply them as exercises to continue developing your skills as effectively as possible.

So! To that end, while you have by and large done really well in demonstrating your skills, I still do want to see you push yourself to your limit. Use your ruler, execute each mark with care, and break the process down into as many stages and steps as you can to tackle every task one at a time. This can honestly take a lot of time - I have had students spending 12 hours and more on a single construction, which you can see here in veedraws' work and here in LordNed's work.

So! I'll be asking for just one more vehicle construction. For this one, write down the dates of each session you worked on it, along with a rough estimate of how much time you spent for each session. Also, for this one, I'd like it to be some kind of car or truck.