Jumping right in with your form intersections, for the most part you're demonstrating a good grasp of the spatial relationships between these forms, although I did notice a couple issues:

• At times you aren't quite as mindful when it comes to where an intersection line hits an edge (where the trajectory would turn more sharply, which should result in a sharp corner). In such cases, you'll have your stroke curve a little more, making that sharp corner muddier and less distinct, which does undermine the spatial relationship being conveyed.

• When it comes to your line weight, I strongly recommend reviewing what's explained here back in Lesson 1. In particular, note that line weight should be subtle (don't apply additional pressure, just go over a portion of the mark with the same pen to thicken it ever so slightly, as the goal is to whisper to the viewer's subconscious, not shout in their faces), and focus it in the localized areas where lines overlap one another.

I made a couple notes to the effect of the first point here, and also included a slight correction to the cone-cylinder intersection on the left side.

Continuing onto your cylinders in boxes, for the most part you're applying this correctly, but there's one mistake that I'm noticing. You appear to either be extending the initial minor axis line drawn during the construction of the box/cylinder (where we draw a line between the center points of the two opposite planes), or attempting to define one line extension to represent the minor axis alignments for both ellipses, but either way this is not correct. The instructions have us drawing a separate minor axis line for each ellipse, so that we can specifically identify the nature of each ellipse, and therefore each of those opposite planes. Blending them into a single line obfuscates important information upon which we can be adjusting our approach for future attempts of the exercise, so keep that in mind.

Continuing onto your form intersection vehicles, here you did a great job of holding to the purpose of this exercise. It admittedly tends to confuse some students, but you did exactly what was asked. Its purpose is to help remind us that even though the later demonstrations can sometimes seem like we're creating this forest of lines that only gets stitched together into a final object towards the end, that we still are very much thinking in terms of big to small, simple to complex. Or in other words, that we're still carving these things out of a block of wood, rather than building them out of toothpicks.

And finally, looking at your more detailed vehicle constructions, there is definitely a great deal of growth over the set, and I think that throughout you're demonstrating careful attention to planning the structures out, and then transferring those plans into 3D space. I do have some advice to offer, but by and large your work here is well done.

• As shown here, I noticed that the ellipses used for the "constructing to scale" technique (which allows us to construct a unit grid) have minor axes that align to different VPs than the rest of your construction. This likely contributed to the resulting proportional issues. Getting this right is definitely harder for freehanded ellipses (like the one on the left) but when using an ellipse guide (as you appeared to for the one on the right), be sure to take the time to line up your minor axis as closely as you can towards the intended VP.

• When dealing with curves, remember that as discussed here in Lesson 6, we don't jump directly into the curves themselves. We build them up with chains of straight edges or flat surfaces, then round them out towards the end. Here's what I mean.

Now the primary shortcoming in your work isn't actually to do with the focus of this course. As far as spatial reasoning goes, you've done fantastically. It's what you applied afterwards, in terms of the decorative marks, where things kind of went awry. Honestly, this happens to me too - it happened in this older chevy camaro demo. When working with the highly restrictive tools of this course (ink, full black/white with no midtones), it's easy to run into these kinds of issues where things just get away from us. I've found that the best way to tackle decorative marks is to ultimately try and stick to consistent rules for yourself.

For example - and these are just what I've found work well for this course's limitations - ensuring that wherever we employ filled areas of solid black, it's for a cast shadow, where one form is blocking the light and thus projects a cast shadow onto a different surface. This ensures that this visual component( the filled shape) always speaks to the same kind of information. It also helps that it ensures that it relates back to our core focus on spatial reasoning, since cast shadows define spatial relationships between the forms that cast and receive them.

This does however mean that for the most part, other uses of this including form shading, capturing the local surface colour of something, or filling in void spaces should be avoid because it would force the viewer to have to think for an extra moment to determine whether what they're looking at is a cast shadow, or something else. I say "the most part" because for some reason, filling in the interior surfaces of a car (like the seats, dashboard, internal frame, etc) is actually fine and doesn't cause issues here. I like to think that it's because the external structure is casting shadows onto the interior - that's not entirely true since technically light would still come in through the windows, but filling all of those internal surfaces with black just tends to look cleaner.

So for example, approaching the interior of your helicopter like this helps the outer structure stand out more clearly, while still providing a bit of complexity through the internals' silhouettes.

The last suggestion is that, for whatever reason, I've found that filling in the cast shadow that falls onto the ground plane to often be a little more distracting, so leaving those as simple outlined shadow shapes provides us the benefit of a shadow to ground the whole thing, but without being too distracting/visually confusing.

Anyway! All in all, very solid work. I'll go ahead and mark this lesson, and the course as a whole, as complete. Congratulations!