Jumping right in with your form intersections, in terms of the intersections you're actually far and away ahead of most students at this stage, particularly in how you are demonstrating a strong awareness of how the intersections we're dealing with occur between individual surfaces, all specific to the ways in which those surfaces are oriented. At this stage, that's something we generally expect students to grasp when it comes to intersections involving flat surfaces, while also expecting the inclusion of curved surfaces to still be somewhat confusing, often resulting in students falling back to trying to rely on memorized relationships between different pairings of whole forms.

This diagram is one we generally share to help students better understand this concept, although your work largely implies an understanding of what's conveyed there. That's not to say I didn't notice a few mistakes, but that they did not necessarily present a trend, and there were plenty of cases that did suggest that you understand this, but may still need to develop more confidence in its application. Some such mistakes include this cylinder-sphere intersection where you fell back to a memorized intersection, and this one here.

Where I do feel your form intersection work is falling short more has to do with patience - there are a lot of signs here that your work is simply a little rushed, and that you're not giving each individual mark as much time as it really requires of you, resulting in linework that is a little sloppy at times, which in turn can undermine the solidity of the forms you're depicting. Keep in mind that the goal of the course as a whole is to help you develop your subconscious understanding and the skills you'd employ reflexively - but in order to do so, we have to be hyper-intentional in all of the choices we make. That is how we refine the actions we perform automatically, whereas training them by simultaneously trying to rely on them tends to result in sloppier results, and more minimal growth.

Also, keep in mind that as discussed here in the instructions for this exercise, you'll want to stay away from overly stretched forms for this one.

Continuing onto your object constructions, I think over the course of this set you demonstrate a gradually developing understanding of how to push your approach to incorporate more and more of what the lesson as a whole seeks to focus on: 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. 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.

Over the course of the set, as you bounce back and forth between different strategies (using less precise and less time consuming approaches for some, like the blender, your x-box controller, and your vertical mouse) and those that are considerably more involved like the chess piece, the grandfather clock, the level, the HDMI adapter, and the Wii U, I think you started to realize that the less involved approaches weren't really giving you nearly the kind of solidity and control that the objects themselves necessitated. A part of that certainly was the nature of the objects as well - those that involved more seemingly irregular curves were given less precise approaches, while those that were more boxy, or symmetrical, were allowed to take more steps.

I think part of this may be that you either missed, or forgot about what's discussed here in regards to handling curves. It's not so much that those curves should be approached more like the organic subject matter from previous lessons, but that they actually require even more intermediate steps to lay out the structures with more flat surfaces and edges, before rounding them out towards the end (as shown with the coffee mug demonstration linked from that section, specifically the handle).

A good way to think about the distinction is that with organic subject matter, it's not just that the curves are irregular - it's that they change, and so a little more looseness in how we approach it isn't actually going to make it less realistic or believable. Conversely, objects like those we engage with here are machined to specifications - they don't change, even the xbox-controller's curves are highly specific, and so to capture that sense of solidity, it takes vastly more steps to pin it all down.

This lesson is ultimately just an introduction to this concept, and so that kind of exploration is entirely normal and expected, and I am satisfied to see your use of the more structured techniques in some of your objects, as it confirms that you do understand how to employ them. When you reach Lesson 7 however, these techniques will be much more strictly employed, and as a result those constructions can, individually, take multiple days to complete.

Before I mark this lesson as complete, I do want to stress one thing: take note of what's stated in the "About your Tools" section, as there are similar restrictions in Lesson 7. As noted, you should not be switching up your types of pens, as this encourages the kind of thinking that drives "clean-up passes" - that is, tracing back over an object to make it stand out. This goes against the principles of this course, as tracing back over linework focuses on how those lines exist only on the page, and undermines the focus on 3D space. Stick to the same kind of pen, and limit yourself to the use of line weight in the manner discussed here back in Lesson 1.