Jumping right in with your form intersections, overall I think you're doing fine, but there are a couple minor points here to keep in mind, so you can be better positioned to get the most out of the exercise:

• Only draw the intersections on the side facing the viewer. I know we generally draw through our forms in this course, but I've found that insisting on the same for intersections has a negative impact on the effectiveness of the exercise, rather than a positive one.

• To that point, make sure that you are still drawing through your forms (you mostly are, aside from the top-left box).

• Do not fill your spheres with hatching. While no hatching is best in this case, doing so with straight lines is entirely flattening out your spheres. The hatching functions like contour lines, in that it describes the deformation of that surface. Using straight lines tells the viewer the surface is flat. You can read more about this in these notes from the form intersections instructions.

• Your linework is a little sloppy, which suggests that you may simply not have given yourself adequate time for all of the steps required. For the upper-left box, the gaps where your lines don't quite meet compromises the integrity of the form, and there are some other more minor examples of this elsewhere in the work. For the upper-right box, just remember that you should not be going back over lines to correct them.

Continuing onto your cylinders in boxes, these are generally looking good. When it comes to the use of the ellipse guide in this one, I'll continue to leave that decision in your hands, but you should give some thought to how that may impact the efficacy of the exercise. For example, it does result in more situations where your ellipse does not quite touch all four edges of its enclosing plane, which means that the resulting line extensions would be a little less accurate to the box itself. Instead, you may consider freehanding the ellipses but then using the ellipse guide to identify the correct minor axis alignment.

Looking at your form-intersection-vehicles, for the most part here you've done pretty well. Just keep in mind that as I noted for the form intersections, you should not be correcting mistakes, as you've done in a couple of spots here. Mistakes made in the course of doing an exercise are entirely normal, but we want to position ourselves such that we can learn from them. Hence things line line extensions for the box/cylinder challenges - they allow us to assess where the exercise was less successful, and consider how we can adjust our approach in the first place to account for and address those issues. If however we make corrections as we're drawing, we tell our brain that the issue was addressed, even though no such analysis/reflection was performed. It focuses on the end result as the goal, not the act of learning performed.

And finally, moving onto the more detailed vehicle constructions, when it comes to the core of this lesson, you've done well in most cases. You're leveraging your orthographic plans effectively, with fairly thorough analyses of the proportions of your vehicles (there are a few small things that were left out, like the top of the windshield for this jeep, but all in all these were few and far between), and you're transferring that information effectively into your 3D constructions.

There are however a few things I specifically believe you should leave out of these exercises, in order to ensure the focus is always on the exercises themselves, without distraction or dilution. For example:

• The lesson allows for the use of rulers, ellipse guides, french curves, etc. - basically anything you can use with your pens to make your linework as precise and specific as possible. While some students may interpret this as a kindness, it is not. It is a recommendation, because it serves to make the exercises themselves more effective towards the specific goals of the lesson. All else being equal (in the sense that the student is investing as much time as they require regardless of the approach), you should be working with those tools, as they will reduce the mental load involved in all of the construction being performed. In other words, instead of having your brain worry about how you're going to make those marks, grabbing a ruler or a french curve will allow you to keep your focus on the subdivisions you're working with.

• That said, it seems that when you did put those tools down and leaned more towards freehanding, instead of applying the ghosting method and the other principles of markmaking in this course, there are places to varying degrees where you tossed those aside and fell back to being much sketchier. I'm very glad to see that it's not everywhere, but there are definitely some cases like this motorcycle where the focus appears to shift from the exercise at hand to doing what you could to make an aesthetically pleasing drawing - shading and all.

• And to that point, remember that shading is not something we include in our drawings for this course. Aside from the core construction (which consists entirely of linework), the only other tool we have at our disposal here is cast shadow shapes, as introduced in Lesson 2's texture section. The demos certainly don't always reflect this (especially the older ones, a discrepancy of which you're probably well accustomed to this far into the course), but it allows us to focus entirely on the things that pertain most directly to the 3D spatial relationships at play. Intersection lines and cast shadows both establish relationships between two forms (and the light source), whereas form shading only considers a single form's relationship with the light source. In focusing on cast shadows, we're continually forced to consider the relationship between the form casting a given shadow, and the surface receiving it, and this is reflected in the specific shape we design for the shadow. When we fall more into more generalized rendering as you did here, we tend not to think about the spatial relationships at play, making the exercise far less relevant to the course and its goals. So to ensure that your exercise is as honed towards a specific goal as possible, stick only to introducing new shadow shapes to your constructions.

Anyway, all in all you've got enough here that shows an understanding of the material. I would have preferred to see you avoid the kind of rough linework we saw in the motorcycle, as well as in this delorean, but I do not feel that warrants additional revisions and feedback. So, I'll go ahead and mark this lesson and the course as a whole as complete.