Starting with your form intersections, you're doing a great job in pinning down the intersections between these forms, and are demonstrating a well developing grasp of how they relate to one another in 3D space. I can see that you're still struggling a little bit with the intersections between curving forms (mainly things involving the spheres), but it's definitely coming along well. Just don't be afraid to really exaggerate that curvature - the bigger risk with lines running along the contour of a sphere is making it too shallow.

Moving onto your object constructions, to be completely honest, I'm really happy with your results. Drawing things directly from observation is definitely more difficult - things are always moving, and we really have to focus that much more on understanding the forms that are at play here. Where there is some safety in, at the end of the day, being able to transfer certain elements from the 2D space of a photograph to the 2D space of our drawing, we have no such opportunities when working with direct observation from life. Especially when we don't have regular experience with it, it can be a bit of a disorienting shift, but you handled it well.

Of all these constructions, the one that stands out to me most is the kettle - you did an excellent job of pinning this one down, and while I can see certain mistakes when comparing the photograph to the drawing, they honestly don't matter. This course isn't one that is testing you on your ability to get all the details right. Instead, it's all about assessing your grasp of space and form, and your ability to make the things you do draw (in whatever proportion they may be) feel solid and real. Certain aspects of this kettle - like the button bigger of the two buttons on the handle - is constructed with such volume and solidity, despite its curvature and relative complexity, that I just want to reach out and press it.

When it comes to areas with room for improvement, one that I did notice was that when faced with certain textural challenges, it seems that you did fall back to relying more on lines rather than actual shadow shapes, and as a result, you were somewhat limited in your ability to smoothly transition between different levels of density. Most notably, in the wire mesh of the microphone, the little cross lines you used to capture the texture were stuck effectively at one level of density because of the nature of lines. They're not terribly dynamic, and we can't really push them to expand or contract in the way that proper shadow shapes can. So, I always encourage students to focus on executing their textural marks - regardless of what they may be - using this two step process, effectively first outlining an intended shadow shape, then filling it in. This keeps us from ever taking the shortcut of just putting a little individual stroke.

Aside from that, I think your work is coming along extremely well, and I'm very pleased to see just how far you're willing to push the subdivision of your container volumes to find more precise positioning for the smaller forms of your construction. That will definitely serve you very well throughout lesson 7.

I'll go ahead and mark this lesson as complete. Keep up the great work!