Jumping right in with your form intersections, you're certainly making progress here, but there's some issues I want to call out, along with some additional information I want to share.

My main concern right now is the linework - it appears that you're not leveraging the ghosting method (or at least not doing so correctly). The ghosting method is essentially at the core of everything we do in this course - it forces us to think through every action beforehand, breaking the process into steps. That's something we'll reference again further in the critique, which'll help demonstrate why it's such an important aspect to the course, and not something to be forgotten.

The absence of ghosting does result in some areas of wobbling (it's more common in the ellipses - note that you can and should be using the ghosting method for those as well). I also noticed a lot of little gaps at the corners where your various edges would meet, which should be avoided to the best of your ability - gaps will remind the viewer that what they're looking at is a series of lines on a flat page, rather than a solid form.

Now, in terms of the intersection lines themselves, I am noticing some issues with the intersections involving curving surfaces. That's pretty normal - at this stage students are generally more comfortable with flat-on-flat intersections, but rounded ones can still throw a wrench in the whole deal. Take a look at these corrections.

There are a few things to keep in mind:

• Intersections are not between forms - they're between surfaces. So for example, there are no "rounded forms" - there are forms that have rounded surfaces, but aside from spheres, they're actually going to be a combination of rounded and flat surfaces. If you're intersecting with the flat base of a cone, then you need only treat it as a flat surface.

• This also means that you need to be attentive to the edges in your forms - when an intersection line crosses an edge to go from interacting with one surface to another, your intersection line will end up having a sharp corner right at the edge to mark the transition from following one surface, to following another one.

• This diagram illustrates this concept, but also goes a step further by converting one of the edges into a rounded surface, showing how that changes the sharp corner in our intersection line into more of a gradual curve.

You'll be able to continue working on this in the interim, and then we'll revisit the exercise as part of Lesson 7 to look at it further.

Now, while the form intersections were admittedly a bit lacking (the intersections themselves do not worry me, but the absence of the ghosting method is a concern, though one easily addressed), your object constructions throughout this lesson are by and large very well done, and adhere closely to the core principle of this lesson: precision.

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 - and you have really put them to excellent use. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study, then apply those same proportions to the object in three dimensions.

Now, while you are generally making excellent use of the concepts introduced in the lesson, I have two main points to discuss. The first of these isn't a mistake - rather, it's how we can take a tool introduced in the computer mouse demo and leverage it even more effectively going forward. It's the orthographic plans shown here.

As our whole focus on precision, just like in the ghosting method, we achieve it by breaking a complex process down into individual steps - or more specifically, we separate the act of making "decisions" from the actions we take to actually execute those decisions. Right now you're doing a great job of separating those two steps by using subdivision to identify where along the various dimensions of the object a given element will be placed - but we can actually kick that decision even further back. If we make all those decisions (or many of them) prior to ever starting the 3D construction, then the 3D construction itself simply becomes a matter of following a recipe you've already established.

In the computer mouse demo, I only really subdivided the orthographic plans into quadrants, giving me a rough idea of where each landmark would be - but not a very specific one. This can be taken further by identifying, using subdivision, where every notable landmark would specifically go, as shown here. Along the top I identified some of the major landmarks whose positions aren't immediately clear. Along the bottom, I used further subdivision to decide on the specific positioning for some of them (I admittedly avoided the especially tricky ones to save time, while still illustrating the point).

One useful thing to keep in mind is that we are not finding the exact locations of these landmarks. We are deciding on where they should go. This involves a certain amount of discretion, where say you had a drawer whose handle sat between 19/50ths and 31/50ths along the width of the drawer's face. These would be extremely tedious to subdivide and identify. As long as the difference is minimal, you can certainly choose to "round" to 2/5ths and 3/5ths respectively, as long as doing so doesn't eliminate another element as a result.

This is a particularly useful tool - the use of these orthographic plans, that is - and one we will leverage a great deal in Lesson 7.

The other point I wanted to quickly call out is a reminder that when you've got curves, in most situations you'll want to build them up as a chain of straight edges or flat surfaces first, before rounding them out as shown here. Here's an example of this in action.

Anyway, all said and done, you're doing very well. Just remember to use the ghosting method with any freehanded linework, so as to maintain as much control over your lines while still executing them with confidence as you can. I'll go ahead and mark this lesson as complete.