Starting with your form intersections, your work here is largely well done, and admittedly this is the first time at least that I can recall that someone's approached them quite as structurally as you have here. I think doing so is very interesting, although I would encourage you to mix this up with more arbitrary rotations when practicing them in your warmups. My bigger concern however is the linework - it appears that you're not necessarily sticking as closely to the principles of markmaking and the use of the ghosting method as explained in Lesson 1, mostly resulting in lines that are somewhat wobbly (even very subtly so), and a few places where your lines instead get rather scratchy.

As far as the intersections are concerned however, you're demonstrating a pretty solid grasp of how to think through the relationships between those forms, so that's good to see. Just be sure to continue to adhere to those principles from previous lessons, as they are critical in ensuring that you're building up the appropriate muscle memory throughout this course. We do everything very tediously here, and it all becomes very time consuming - but the benefit is that as a result, those habits become so deeply ingrained in us that even when we're drawing without thinking it through, we're taking split-second moments to consider the nature of the stroke we wish to make, before executing it, greatly increasing the chances that it'll come out as intended.

Continuing onto your object constructions, your work here is by and large exceptionally well done, and I'm very pleased to see that throughout your constructions you've taken a great deal of effort to focus on the core principles of this lesson. That is, approaching your constructions with a great deal of pre-planning, consideration, and most importantly: 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, and as you've demonstrated in your work many times over, 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.

What stands out especially to me is that you took the concept of the orthographic plans introduced in the computer mouse demo, and leveraged them well beyond that by defining the specific landmarks with their own proportional measurements, so you could establish exactly where along the various dimensions of the bounding box each major feature would appear. The computer mouse demo only shows at this time splitting the bounding box into quadrants and eyeballing things based on that - but this more structured, direct use of the tool is something I've been encouraging students to consider in my critiques, so I'm very happy to see that you've come to that conclusion yourself. It will eventually be part of the lesson as well, as our snails-pace overhaul crawls along.

Now, as your work is done extremely well, I have just one minor point to call out. In regards to this fork, I noticed that you jumped into dealing with the curves a little earlier than I'd recommend. Per the concept explained here in the notes, curves have a tendency to be more vague, and harder to pin down with specificity. As a whole you handled them well, but I do want to encourage you to try establishing those structures first with chains of straight edges or flat surfaces as shown here, rather than jumping ahead into your curves, at least for the work you do in this course.

And that's about it! Keep up the great work. I'll go ahead and mark this lesson as complete.