Starting with your form intersections, your work here is looking very good. You're clearly demonstrating a strong grasp of the spatial relationships between these forms, and while there are a few small mistakes, you're definitely surpassing what we expect from most students at this stage, which is to be comfortable with intersections between flat surfaces, but to still be a little uncertain when curving surfaces are introduced.

I noted down the couple of issues I noticed here. The one towards the bottom right is just a matter of your curvature being shallower than it should be, but the one towards the middle of the page misses the portion to the far left of that intersection where it curves more along the sphere. This diagram may help in better understanding how these intersections work by representing a curved surface first as a combination of flat surfaces joined by an edge, which then gets rounded out - but honestly I think this is something you already largely understand, based on your other work.

Continuing onto your object constructions, as a whole you're demonstrating a pretty good grasp of the core principles of precision that serve as the backbone of this lesson, and in general this last chunk of the course. Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.

So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.

In our constructions here, we build up precision primarily through the use of the subdivisions. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study as explained here, then apply those same proportions to the object in three dimensions.

While I noticed that you didn't include orthographic studies for this one (it's not strictly required, although it is for Lesson 7 so do be sure to include them there), I can see clear signs that you're making use of them, or at the very least the concepts they espouse, in a number of your constructions. I think the lighter on this page demonstrates this best. Whether or not you used an orthographic plan here, you clearly made your decisions in a manner that was not burdened with other distractions, and applied them effectively in a three dimensional context.

There are other constructions, like this microphone where you more obviously didn't avail yourself of those tools, although I can certainly see why. In this case a single ortographic plan matched to a single bounding box would have been a nightmare, given the fact that the mic itself is set at an angle relative to the stand. What we could do however is use two bounding boxes (and one set of orthographic plans each) - one for the mic, and one for the stand. While the internal proportions of those elements are of some degree of importance to us, the angle isn't because the mechanism allows it to pivot to all kinds of different angles, so this strategy would allow us to focus our efforts on what matters.

As a whole though, I think you've done a great job and have demonstrated a solid grasp of the concepts for this lesson. The only other minor point I have to mention is that for our work in this course, it's best to be more conservative in your use of filled areas. You tend to use it a lot, often to add local/surface colour (so for example filling in the numbers or spots on your dice). In this course, we try to stick primarily to filling in only our cast shadows, because those cast shadows help to define the relationships between different forms in space. This keeps the visual tool that is a filled shape consistent, and avoids confusion.

In some of the demos I do employ hatching, although it's usually to help convey any curvature that might not be entirely expected - so for example, on the bluetooth speaker, where the corners are rounded. In general though, these notes on hatching from the form intersections page is a good guide to follow, at least in terms of work done for this course.

Anyway, I'll go ahead and mark this lesson as complete. Keep up the good work.