Jumping right in with your form intersections, you're doing quite well here, and you intersections demonstrate a well developing understanding of how the forms relate to one another in 3D space. Your cylinders in boxes are generally similarly well done, although I did notice that when you end up with a box that is especially disproportionate, there's a chance that you end up misinterpreting your line extensions. As shown here, the minor axis (Which should be running straight down the length of the cylinder) is way off - but it appears that you did not catch that.

Carrying onto your vehicle constructions, there are some areas where you've done a stellar job, although some areas where I feel you can push yourself much farther.

Starting with your form intersection vehicles, these are very well done. A lot of students end up taking them way farther than intended, but it's really just meant to be an opportunity to play around with primitive forms, to remind students that despite the fact that they're tackling very complex subject matter, that it's all still a matter of forms and general spatial reasoning.

Continuing onto your more detailed vehicle constructions, the first thing I wanted to talk about was this coast guard boat demo - and more importantly, the fact that the box you started off with, along with its subdivision lines, are kind of... well, wonky. More specifically, there are alignment issues where the convergence towards the vanishing point is rather inconsistent.

This is throughout most of this course pretty common, although I wanted to call it out because this lesson's allowance of certain tools, like a ruler, can actually really make a difference. Based on your linework, I assume you did decide to use a ruler, but perhaps not to its fullest potential. See, a ruler gives us, for free, a visual extension of the line we wish to draw. Without having to commit, we can see both the path we wish our line to follow, and well beyond that, giving us an impression of how it might behave alongside the other lines that are meant to converge towards the same vanishing point. This can really make a difference in judging how those lines should be oriented, and I feel that is something that was underutilized here.

Another point I wanted to raise - or really, more of a reminder I wanted to call out - is that in this course, we reserve our filled areas of solid black for cast shadows only. Admittedly the demos contradict this in a lot of places, by virtue of simply being older, from before the more specific approach to texture that we use now was defined - unfortunately demos take a lot of effort to replace, and my overhaul is progressing at a snail's pace, as between the continuous flow of homework to critique, there's limited time to work on it. For those on the official critique track, I try and compensate for this through the feedback I provide, although students are sometimes prone to perhaps reflecting less than they could on that feedback.

But there's also a chance that students simply forget the distinction between cast shadows and form shading - so to clarify, any situation where you're filling in an existing shape with solid black - like the side of a wheel, as we see here, the filled spaces on the windows on this submarine, and the moulded details on this camero's hood - are very likely to not be cast shadows. Cast shadows generally require us to design an entirely new shape, as it's that shape which captures the relationship between the form casting the shadow and the surface receiving it.

I say generally because there are exceptions - for example, filling in the interior of your cars is fine. It's actually a bit of a stretch, but we can argue that the exterior shell of the car is casting shadows into the cab. We do it here with our cars because it helps us define those internal forms without having to make them too visually distinct and distracting, although there are going to be other situations where, like in the potato plant demo from Lesson 3, there are simply spaces that are already present, but get filled up entirely by shadow.

You do end up using those filled areas of solid black a lot more arbitrarily throughout your constructions here, so I recommend that you ease up on it, and always weigh whether you're actually drawing a cast shadow, or something else. And of course, keep in mind that form shading in general should be left out of your drawings, as disucssed here, so the loose hatching along the underside of this space shuttle should not be there.

Now the last thing I wanted to mention is that while your more detailed vehicle constructions are coming along well, I want to see you take them further, and leverage more of the concepts of precision we discussed in my feedback for your Lesson 6 work. There I stressed the importance of making decisions ahead of time, and avoiding making a decision regarding a mark at the same time as executing it - instead leveraging subdivision to define the footprints of given details, features, structures, etc. and even making those decisions in a more involved orthographic plan instead. It seems that you may not have referred to that feedback as recently as you could have, and so we still see fairly loose orthographic studies like those for this forklift which leave a lot to be approximated/eyeballed as you work through the 3D construction.

So- I'm going to ask that you submit two more vehicle constructions. For these, I want you to adhere to a few restrictions:

• Invest as much time into them as you reasonable can. There's no requirement that you complete a construction for this course in a single sitting - you can, and should, spread it across as many days as you require in order to complete them to the best of your current ability.

• Write on the page the dates of the sittings you spent on them, along with a rough estimate of how much time was spent.

• Strive to make every decision separately from its actual execution. It's totally okay to do your orthographic plan only to find that you forgot something later on, while working on the construction - but in these circumstances, I want you to go back to the orthographic plan, make the decision there (with whatever subdivisions you require), then transferring it to your 3D construction.

• Work with ballpoint only, no fineliner.

• Be sure to employ the technique demostrated here to create a unit grid for your construction.

• One of your 2 constructions must be a car.

And lastly, I wanted to share with you this album of VeeDraws' work. Normally I don't share other student's work, as the point is not to have the student feel like they need to achieve a given level of quality, but I've found that sharing this particular student's work helps motivate those at the end of the course to really apply themselves as much as they reasonable can. Reason being, she's got a very detailed breakdown of how much time she spent, and it really puts what one can do here into context. I also admittedly feel, based on what I'm seeing here, that you are capable of doing it just as well as she did there - but that it's not always easy for a student to see that themselves until pushed. But don't worry too much about that - worry about pushing yourself to your limits.

Though I'm only asking for 2 constructions, it's no small task - but you're this close to the end, and it would be a shame not to push you to your limit before letting you go out into the world.