Starting with your form intersections, overall your work here is coming along well, although there are a few points I wanted to draw to your attention.

• In this area specifically you had some notably incorrect intersections that did not seem to consider the actual curvature of the surfaces interacting with one another. For example, along the top where the sphere is intersecting with the flat top of the sphere, you don't appear to take into consideration the fact that the intersection line transitions to a totally different surface when it hits the cylinder's edge. This would result in a sharp corner, and then since the cylinder's top is flat, you'd follow along the curvature of the sphere, which curves in the opposite direction of what you drew. We can see a similar issue with the cone below, where you draw the inverse of the cone's curvature.

• Remember that line weight is not something applied arbitrarily - as explained here, it should be employed primarily to define the overlaps between different sections. Going back over your intersection lines just makes them needlessly heavy and distracting.

• You also have a tendency to draw those intersection lines less confidently, resulting in more hesitation and wobbling. This is definitely because you're worried about drawing the intersection lines incorrectly, but remember - first you decide how that mark needs to be, then you apply the ghosting method in order to ensure a confident execution. Hesitating in order to avoid a mistake is still going to give you a worse outcome, than executing it confidently and missing the mark - at least in the context of this course.

Continuing onto your cylinders in boxes, your work here is looking good. You're applying the line extensions correctly, which is the main thing I keep an eye out for, as many students get a little too relaxed in how they're applied and go forward doing it wrong, resulting in far less benefit from the exercise.

Moving onto your vehicle constructions, there's a lot you've done quite well here, and for the most part I'm pleased with your work, although there are some issues I want to point out, and an area that could have certainly received more attention.

The thing that could have received more attention is the use of orthographic plans. As noted in this section (which references a more detailed explanation and demonstration from Lesson 6), I mention that orthographic plans should both be leveraged for our constructions, and that they should be included in our work. Now, I see no reason to believe that you haven't employed them to some extent, although the only one you included was this one, which appears to match this construction. Given the absence of any others, I'll have to gauge your understanding of how the tool can be employed based on this one alone.

As far as this orthographic plan goes, it's headed in the right direction, but it does not go far enough and leaves quite a few major landmarks to be approximated or decided upon when constructing the objects in three dimensions. In other words, you simply need to push it farther, and consider more of the elements that are present, and where their corners line up to. Here I've marked out a few such undefined landmarks, although there are many others in that plan in particular.

Looking at the top view, I noticed a lot of little notches you added along the side, although these notches do not appear to specifically provide any useful information. Throughout the process of laying out these orthographics, we're defining the proportions of these landmarks specifically through the techniques of subdivision, mirroring measurements across a given axis, and repeating measurements in space. It's not enough to simply put marks down, or even to measure their relationships on the page - we need to use techniques that can be applied in the same manner whether they're applied on an orthographic plan, or on a fully 3D construction. This allows us to use the orthographic plans as a guide, simply following the steps we already identified, without having to make new decisions.

To that point, this may be a point about the purpose of orthographic plans that you may have missed. As explained here in Lesson 6 (specifically the second bullet point at the bottom of that section), it's not about identifying each measurement accurately, but rather deciding on what those proportional relationships will be for the object we construct. Meaning, matching something up perfectly might require us to subdivide all the way down to 50ths, but it may be close enough that we choose to make do with 5ths instead.

The last issue of note I wanted to call out is that I'm seeing quite a few cases where the marks you do end up drawing freehand do not adhere to the principles of markmaking and the techniques we introduced earlier in the course. So for example, here we can see that you're going back over those curving lines multiple times, and approaching them in a generally scratchy fashion. This of course does not adhere to what the course teaches. Everything we can draw in this lesson using tools (rulers, ellipse guides, etc.) we should draw using those tools (even the final lines of a given construction - I sometimes get some students feeling that they're only supposed to use the tools for the preceding constructional steps), but there will inevitably always be things that our tools cannot capture. In such cases, we must as always consider this in the context of the course as a whole, and ensure we are applying them as we've been taught.

When we allow ourselves to make decisions automatically or instinctually, we become susceptible to unintentionally skipping steps, or neglecting the things we've been taught. And so, everything we do throughout this course must be done with the utmost intention. Every action we take (as much as we can, as such things are of course difficult) must be the result of conscious thought. The goal is to train our instincts so outside of this course we can use them to greater effect, worrying more about what we choose to draw, rather than how - but we only achieve that by being hyper-intentional and consciously aware of the choices we're making here.

As a side note regarding this drawing, I wanted to call your attention to the notes here in Lesson 6 regarding how we are to tackle curves. By breaking them up into chains of straight lines or flat surfaces, we not only provide a scaffolding for laying that curve out in a more specific fashion (which helps yield more solid structures), we also gain the benefit of more landmarks to pin down in our orthographic plans, in the form of each corner along that chain.

Before I finish up my critique, there are a few quick things I wanted to call out:

• When using filled areas of solid black, try to focus their use only on defining the shadows being cast by other forms - avoid filling things in without first determining that they're actually cast shadows. So for example, don't fill in wheel wells, or the side planes of the forms, as this is more akin to form shading which as explained here. This is something you'll see me do in some of the older demos, so it's not a huge deal, but definitely something to keep in mind when doing the exercises for this course. If you find yourself tempted to fill in an existing shape, it's likely you're applying form shading. Generally speaking when drawing a cast shadow, you'll need to consider the form casting the shadow as well as the surface receiving it, and that will influence how you choose to design the given shadow shape in order to capture that spatial relationship between the form and surface. The main exception you'll encounter is when filling in the interior structures of a vehicle - we're really doing that because it helps organize the drawing better, but our tentative excuse is that it's inside the car, so the exterior shell would be casting shadows in to it. Technically not entirely true, given that light comes in through windows, but it's good enough for our purposes.

• Remember that the use of line weight, like the use of filled areas of solid black, has specific guidelines on how it should be used. You'll find them explained here. If you're worried about whether or not I'll be able to see the vehicle in the forest of linework, worry not. I've been doing this for years, and I've gotten quite good at it.

• For the holes in the grill on this truck, keep in mind that when it comes to such levels of detail, you are certainly allowed to decide whether or not you want to include it. Just keep in mind that if you do choose to include it, you should be doing so using the techniques instructed - so in this case that would mean laying out perspective guidelines to ensure the cut-out shapes remain consistent and aligned correctly. In this case, I think leaving them out would have been a perfectly understandable decision, but including them by means other than what is addressed in this course is not.

• I noticed a handful of comments on your work that you really should not be including on work you intend to submit for review to an instructor. "I don't care," "I will not redo this regardless of circumstance", "I'm not doing the detail on this" etc. I get that students get frustrated, and that the work assigned in this course - and even moreso in this lesson in particular - can be extreme. Some students have spent upwards of 12 hours on a single construction for this lesson. It's a lot. That does not however make such comments anything but completely inappropriate. It would be very unfortunate for you to leave such comments on work for other instructors in the future.

The last point I really should make is that each construction is accompanied by a single date - I'm not going to read too much into it, as it's possible that was the date you started, or the date that you finished. What I will say is this: a task takes time. How much time it takes depends on quite a few factors, but if we presume that our intent is to complete that work to the best of our current ability as required by the course, then it becomes a fair bit simpler. It means the nature of the task, is determined by the sub-tasks it requires. Every mark we must draw, everything we must consider, think about, measure, calculate, analyze, etc. Each one takes time.

There will be many cases where a given task demands so much that it cannot reasonably be completed in a single sitting, or a single day. Some students may adjust their approach to get it to fit, to finish it in the time they have available, but this changes the terms by which we were completing the task. It means not doing it to the best of our current ability, but rather doing it as well as our time allows.

The better solution is to allow that task to spread out across multiple sittings or days, to work on it as much or as little as time allows. It's honestly a hell of a lot less stressful and frustrating that way, and that in itself is kind of the point. It allows us to take a lot more care when making our decisions. We tend to make more mistakes when we're frustrated, and when we're eager to get the thing over and done with. Of course, what we're doing here has no concern for the exercise being finished - it's about how we approach it that makes the difference, and all I'm doing here is making sure my students understand how to make the most effective possible use of those exercises, so they can continue applying them going forwards on their own.

Now, I've talked your ear off already. I am going to assign you one page of revisions. I'll admit to having been tempted to require you to redraw that truck (it would honestly be a pretty good subject matter to study), or to assign multiple pages, but I'll apply the following restrictions instead:

• It should be a car, truck, SUV, etc. - basically a regular consumer vehicle.

• Draw it using ballpoint. It is permitted for this lesson, and honestly I strongly encourage it, as it makes it a lot easier to deal with the forest of lines we end up with.

• Make sure you've first gone over the orthographic plan material from Lesson 6, as well as the section on handling curves. It also wouldn't be a bad idea to generally give the Lesson 1 material a once-over, just to make sure that you haven't forgotten anything too critical.

• On the page, write down the date of each session you spent working on it, along with a rough estimate of how much time was spent. It would actually be great if you could take a photo after each session and submit them all, but I won't make that mandatory.