Starting with the form intersections, you're certainly showing a generally well developing understanding of how these forms relate to one another in space. I am however seeing a few minor issues that you will want to keep on top of:

• There's a visible tendency to draw multiple strokes over some lines (in a manner that does not suggest you're simply adding line weight, and may instead be trying to correct mistakes or automatically reinforce edges). Every mark you draw must be executed using the ghosting method, which means going through the planning and preparation phases - meaning you shouldn't be making any marks without forethought.

• Your ellipses are still somewhat loose - this isn't too uncommon for the ones that are more circular, but do be sure to apply the ghosting method here as well, and to keep pushing to draw them from your shoulder to help tighten them up.

• I noticed a couple spots where you allowed the far end of some of your cylinders to get really wide. While the far end is indeed going to be wider, but remember that when an ellipse is so wide that it is basically a circle, that means it's facing the viewer more or less head-on. So if you have the far end of a cylinder set to be that wide, but the cylinder itself is not drawn such that it's coming towards the viewer, that's going to suggest a contradiction to the viewer and break the illusion that they're looking at 3D forms.

Moving onto your object constructions, I think that you've done a decent job, but that there are definitely areas in which things can be improved, primarily by simply taking your constructions further. Pretty consistently there appears to be a point at which you decide you're about done constructing, and then you decide to "actually draw the object". This results in two passes being present in your drawings. You've got the fainter construction lines, and then the darker lines you've drawn for your actual object. This is actually something I discuss in the form intersections instructions here - you should not be separating your drawings into an underdrawing and a clean up pass. I also mention it where I allow students to use ballpoint pens for this lesson.

The key point is that I don't want you to get the sense that construction is a throw-away part of what we're doing here. Every drawing throughout this course is an exercise, and in this lesson it's no different. The whole drawing is a construction, and we're simply pushing that construction as far as it can reasonably go to build every aspect of the object out with strong spatial relationships between them, and the illusion that they are all grounded, solid, three dimensional forms.

So, as far as that is concerned, don't separate your drawing into two phases, and if you're going to use ballpoint, use it for the whole drawing (aside from where you need to fill in shadow shapes with solid black).

When it comes to areas where your constructions could be taken further, one such example is this phone handset. When it comes to the specific positioning of the buttons, you definitely moved in the right direction in terms of how to block off the groupings of buttons and center them on the device. To take that further, you could also have drawn an actual grid with precise, equal spaces between them (rather than eyeballing the position of those buttons inside the larger rectangle). Also, while I agree with your choice not to construct all of the internal edges of each button (as that would get quite visually noisy), you should have instead used textural techniques, such as capturing the shadows cast by each button. This would have allowed you to define their relationship with the surfaces around them more effectively. Cast shadows are really useful in implying form information that is just too small for us to get into with actual construction, and for this reason, areas of solid black really should be reserved only for such cast shadows (rather than filling in areas that appear to have a black "local colour").

The same points all stand for the remote control drawing, where your approach to adding the buttons resulted in them being positioned imprecisely, and in them appearing to be flat. Further construction could have also been put into place for that curve along the remote's underside. This is also similar to how you jumped into more structural complexity to draw the nozzle on this dispenser. Instead, putting in more straight structure and then using that structure to derive specific curves as explained here would yield a better result. You applied this same principle quite well in capturing the body of the dispenser's curves - you just need to put the time into each drawing to apply these techniques wherever they can go.

That hits the main points of concern. As a whole, this is fairly normal. Lesson 6 is where we introduce these concepts, and it is not uncommon for students not to really push their constructions quite as far as they could. Once you get into lesson 7, however, you will have to be willing to push yourself much harder and to exhibit much more patience with each drawing. I've had students putting many hours into each individual vehicle drawing (of course there's nothing wrong with splitting any drawing across multiple sessions). So you will be able to push your patience that much farther at that point.

I'll go ahead and mark this lesson as complete.