The comment about feeling smarter than ever made me chuckle - but honestly, your results here line up pretty nicely with that. You've demonstrated a great deal of patience and care in how you've worked through every step of your constructions, and while you stated you could have gone further, the fact that you put this much care and focus into the early stages is really critical - it's in the foundational steps where our time investment pays off the most.

Anyway, I'll dwell on that in a moment. Starting with your form intersections, overall you're headed in the right direction, but there are a few little hiccups I've outlined here on the page to keep an eye on. You're continuing to work through your cylinders in boxes well, and you're hitting all of the analysis line extensions correctly, so you're still tackling this one well too.

Moving onto the form intersection vehicles, I'm pleased to see that you didn't overcomplicate this one as many students do. You've done it exactly right, laying down basic primitives and arranging them to match the layout of a vehicle. This helps students to go back to the core principles of what these vehicles are - just a bunch of forms mashed together. It's easy to forget that when we get too deep into subdivision, which can lead to students attempting to jump from basic subdivisions straight to a complete vehicle, but thinking about it in terms of the simple forms that underly each structure is still critical.

When you do get into your more developed, proportionally specific constructions, your comfort with the material of this course, and the patience I was lauding earlier, really rears its head. You've done an excellent job in the construction of each of these - not skipping any steps, always working with a clear focus towards precision and specificity, and being aware of the choices you were making ahead of time, rather than trying to mix decision-making and action all together into the same moment. I can only imagine how time consuming these constructions were, but there's no doubt in my mind that you put every second, and every mark, to the best use you could.

In all honesty, I can only really think of one criticism to offer, and frankly it's so petty and minor that it's not even worth mentioning - but if I didn't, I'd be left with nothing at all, and I have to earn my keep somehow. Basically, it's just a reminder to, when working on the constructional drawings for this course, to stick to using filled areas of solid black only for capturing cast shadows. Admittedly I probably didn't stick to this entirely myself, especially in the older demonstrations (which will all be corrected as I work through overhauling the course material to pick off little discrepancies and inconsistencies like that), and moreover, it's really only something I saw in this one construction of yours at the end.

In essence, we focus on the use of cast shadow shapes because they serve to develop a relationship between different forms in the scene - the one that casts the shadow, and the surface that receives it. Drawing these shadows correctly requires us to consider how those forms sit in the world and how they relate to one another, thus forcing us to think about 3D space and go back over the core focus of the course again and again. Form shading however - which is actually what you ended up employing here, of a sort (in the sense that form shading is all about the individual relationship a form has with the light source and nothing else, where its surfaces are lighter where they point towards the light source and darker where they point away), is something we do not use in our drawings here, simply because leaving it out gives us a clearer distinction between what is a cast shadow and what isn't, thus letting us lean into those spatial relationships a bit more firmly, again for the purposes of what we're meant to be learning here.

A good rule of thumb - at least, for when you're tackling these kinds of spatial reasoning exercises in the future - is that a cast shadow is generally going to be a new shape that you have to define (given that the shape is what defines that relationship between the form and the surface). If you find yourself filling in an existing shape that is already present in your drawing, then stop and ask yourself what exactly you're drawing. Sometimes the cast shadow shape does fill in a whole existing surface, but more often than not you'll find that you were actually taking a bit of a shortcut and filling in a 3D surface (which again, is more akin to form shading).

And that about covers it! You've really knocked this out of the park, and should be very proud of yourself. So, I'll go ahead and mark this lesson - and the whole course along with it - as complete. Congratulations!