Starting with your form intersections, by and large your work here is done well. You're drawing these forms in a manner that maintains a fairly consistent scale across the many different forms at play here, and the intersections themselves largely demonstrate that your understanding of how they each relate to one another in 3D space. You're handling both the somewhat more manageable flat-on-flat intersections well, as well as the much more complex round-on-round ones.

There is however one issue present here - your linework could be much better. I'm seeing quite a few repeated marks (where you go back over a line reflexively, rather than using the ghosting method for every single mark), cases where you've tried to redraw a mark to correct a mistake, and some areas where in order to add line weight to a curved edge, where you've used some rather chicken scratchy approaches to adding it. Remember - every single structural mark you put down via freehanding should be individually using all three phases of the ghosting method to ensure that you're thinking about what you're meant to get out of each individual, confident stroke.

Continuing onto your cylinders in boxes, your work here is looking fairly solid and is progressing well, so nothing to really dwell on here.

Moving onto the vehicle constructions, when it comes down to this lesson, I run into two main cases - ones where students have gone to every possible length to construct their vehicles with as much specific precision as they can (avoiding skipping steps, always laying down the necessary structure/scaffolding to support the next structure they try and build up, etc.) or they just kinda wing it, starting out with a box and then drawing more from observation within that space. You however have something of a mix between these two extremes.

I can see that there are definitely cases where early on you didn't follow the suggestion to use a ruler/ellipse guide/etc when working through some of your earlier demo drawings - since you ultimately changed that decision later on, I'm not going to focus much on these. Just know that changing your mind and allowing yourself the use of those tools was very much the right decision. Some students think that if they avoid things that'll make the work easier, that they'll get more out of it - when in fact they're really just going to distract themselves from the focus of the course, by demanding more brainpower/resources to do things they could practice more efficiently with other exercises from earlier lessons.

Getting into your initial form intersection vehicles, you've done a good job here, and actually went a bit beyond what was asked - this exercise is really just about putting down the primitive forms, just like in the form intersections exercise, but arranging them a little more similarly to an actual vehicle. Either way, you've handled these well.

Continuing through many of your more detailed vehicle constructions, there are definitely a ton of these where you're leveraging a great deal of structure, construction, and precision. For example, you went to great lengths to flesh out this ford fordor, especially for the front. Now if we compare this to some other cases however - for example, this 2002 bmw, we start to see a few places where you've approximated or eyeballed elements, rather than laying down the structure to establish them in a precise manner. For example, the two headlights have not been drawn in a way that is necessarily symmetrical. It looks close enough to the naked eye, but if we actually use the mirroring techniques from Lesson 6 we see that it's actually not wide enough (although I did compensate for the slanted edge on the far right of that section being too sharply angled).

Similarly, we can see more approximation and eyeballing here - you certainly have approached it with an amount of structure, but there are definitely areas where you've skipped through some steps - especially when it comes to dealing with rounded curves, which as explained here in Lesson 6 should be broken down first into a chain of straight edges, so we can pin them down with greater specificity, before rounding them out.

Now I will admit - I was a little on the fence at first, but I think that looking over the set here again, you do still demonstrate enough precision to show that you do understand what you're doing, and that you understand the concepts involved in this lesson. When you get into more complex constructions - sports cars with all their curves have in the past taken students ten hours and more to complete properly - you do have a tendency to fall away from some of the more time consuming procedures, but I am going to leave you to address that on your own, as I think that's more a matter of how much you were willing to put in (and no doubt what you'd put in here was already quite extensive - it's just a super demanding lesson).

I suppose the thing to keep in mind most of all is that the drawings/exercises we do throughout this course serve to help develop your instincts, so when you're drawing your own things, you'll be able to do so without worrying so much about every last little technical detail. But, with that said, it's important that we be as specific and conscientious with every action we take within this course - because it's by being super intentional here that we train those reflexes most effectively. Using the reflexes (like when we decide to approximate something rather than pinning it down with specific scaffolding/construction) in order to train those same reflexes merely results in a bit of a mess. It's a good thing your threshold for where you were willing to work more approximately was pretty high, so you still got quite a bit of very intentional construction done here.

So! I'll go ahead and mark this lesson, along with the course as a whole, as complete. Congratulations!