Jumping right in with your form intersections, your work here is admittedly a bit of a backslide from what you'd submitted in Lesson 6, where you were largely demonstrating a pretty solid understanding of how the intersecting surfaces related to one another in 3D space. There were small mistakes but overall it was very much headed in the right direction. This time around however, there are more significant mistakes that suggest to me that you may simply be out of practice, and that you may not have done enough of this exercise in the last 4 months. It's not horrendous by any stretch, but there are a lot of mistakes that come either from leaning too much on guesses rather than fully understanding the choices you're making, or where you lost track of the orientation of some forms (given that we're drawing through them). I've made numerous notes here, but there are a couple big points I want to stress:

• An intersection line is effectively the line that runs along both intersecting surfaces simultaneously. Meaning it's where those two surfaces touch, and cannot stray from either surface at any point. A very common issue when it comes to intersection lines is just in paying attention to how those surfaces curve through space. If you look at the point at the top where I noted "the curvature here is wrong. Follow the curve of the sphere's surface", the intersection I'm pointing to there has a very tight curve, like it's wrapping around most of the circumference of a skinny cylinder, rather than the much larger sphere. In order to run along the sphere's surface, you'd want a much more gradual curve.

• Try not to guess. By this I don't mean to not be wrong, but rather a guess is more of an arbitrary shot in the dark. When doing this exercise - or really any exercise in this course - it's important to make clear decisions, even if those decisions are wrong. In the sense that if someone were to ask you "why'd you go about this in this manner?", you should be able to answer it clearly with how you were thinking at the time. Your answer doesn't need to be correct, but as long as specific, intentional thinking behind each action, that's something we can work with. I do think there were some spots where there was more confusion in terms of which side of a given object you were working with, and in those cases you may have been more prone to just taking a stab in the dark and moving on. You definitely weren't doing this all the time, and it wasn't even super often, but it's just something to keep in mind.

The last thing I wanted to offer on this front is this diagram - it steps you through how we can think about the relationships between our forms, and how the intersections change as those forms themselves alter. I usually share this with students at Lesson 6, but I felt at the time that you already understood what was shown here, but this time around I want to be sure to share it with you.

Continuing onto your cylinders, your work here is looking solid. Your linework is confident and well executed (though there are a few places where you double up some of your straight edges - be sure not to repeat those strokes or attempt to correct mistakes), and you're applying the line extensions correctly to analyze where your approach can be adjusted to continue improving.

Moving onto your vehicle constructions - that is, the actual focus of this lesson - despite the somewhat rougher attempt at the form intersections, the rest of your work in this lesson is generally quite solid. There are a few points I want to call out, but as a whole I'm pleased with your results.

For the form intersection vehicles, I wanted to note two things:

• Firstly, you ended up taking this exercise farther than intended. It really is just meant to be like the form intersections (where we draw complete primitive forms arranged in space), but with the forms arranged in the layout of a vehicle. No need to start with an overall bounding box and build with in it - although in doing this you didn't undermine the purpose of the exercise, which was largely to remind the student that even though subdivision and all the techniques we use in this lesson can make us feel more like we're just connecting different edges together to create a final result, we are still meant to be working with primitive, simple forms, and building them up in stages.

• Secondly - and this is a minor point - you have a tendency to make your wheel cylinders smaller in radius/diameter than they generally would be, which throws off your proportions. You don't make this mistake in your more detailed constructions (because you're working from a reference, paying close attention, etc.) but I did want to call this out as it seems to be a consistent habit that you could work at addressing, and would ultimately help you in drawing them off the top of your head in the future.

Looking at the more detailed vehicle constructions, I am very pleased to see that there are at least a few constructions here where you made a really extensive use of your orthographic plans - most notably your HIVUS-10 boat and your vespa/moped. Admittedly with the vespa I of course shouldn't assume that you did work with an orthographic plan, but it's pretty hard to imagine how you'd lay down all that structure so well without one. Your cars - the porsche, ferrari, lamborghini and the other one - similarly show a lot of care and patience, although these aren't taken quite as far as the vespa/boat, so I can see them being approached without orthographic plans, or at least with much less detailed ones. All the same, they were still well done (although the laborghini did admittedly get kind of warped/stretched out.

One thing I did want to call out however is just to do with your linework - you're not sloppy by any stretch, but I can see cases where your linework gets somewhat more scratchy and sketchy - for example with the lamborghini's door, where you seem to have sketched it out more lightly, and then tried to sure up your linework, but as a whole seem to have fallen back on looser approaches to sketching and not the principles of markmaking from Lesson 1. Remember - everything we do in this course is just an exercise. The purpose is not to create pretty end results, but to apply the concepts even if - and especially if - they cause us to falter. At this late stage in the game it can be easier to forget, especially as we start drawing vastly more impressive things, but this is a very important reminder for me to give, because the purpose of this critique is not to assess whether you know how to draw. It's to assess whether you know how to apply what you've learned here as continued practice, so you can continue to grow and develop as effectively as you can on your own.

Now, to that end, I think your lesson is certainly good enough to mark as complete, but because of the issues with the form intersections, I would like to see one more page of that before I do so. Take y our time with it, think through every intersection you establish, and focus on having your intersection lines sit on the surfaces of your forms. You've clearly demonstrated the capacity for this in other ways, and that your spatial reasoning skills have been developed well, so I want to see how you perform the exercise while keeping what I called out in mind.