Starting with your form intersections, all in all your work here is quite well done and your intersections suggest a well developing understanding of how these forms relate to one another in 3D space. There are a number of things to keep in mind however:

• Firstly, while you've got plenty of smooth lines here, there are some where your execution is more hesitant and unsteady, resulting in a less-than-straight line. I'd assume that these are one-off instances where perhaps you weren't as focused as you could have been, so keep on top of that.

• Note that the instructions explicitly state not to use forms that are stretched in one dimension - you've got plenty of longer boxes, longer cylinders, etc. which suggests to me that you didn't go back and reread the instructions prior to doing these pages. It's normal for students to think they know an exercise because they've done it before, but not taking the time to refresh your memory can definitely bite you in the end.

• The hatching lines are at times a bit excessive. Always keep in mind the purpose for a given mark. When it comes to hatching here, we usually employ it to clarify which side of a box is pointing towards the viewer to help clarify what we're looking at. It doesn't serve as decoration, and it seems like you might have gotten a bit caught up in using hatching towards that purpose instead.

Moving onto your object constructions, as a whole you're demonstrating a decent grasp of the material from the lesson, but I think there is one key issue that kind of gets in the way of you properly demonstrating your full understanding and capacity for applying it. It's actually related to the point I mentioned at last in regards to the form intersections - you're getting too caught up in the idea of these being nice, pretty drawings. In focusing on the end result, there are definitely areas where you're a little more distracted from the core construction, or where you otherwise cover up important elements of the construction.

First and foremost, remember that back in Lesson 2, we discussed that throughout this course, form shading should be left out in order to more completely focus on construction to establish how the objects we're drawing exist in 3D space. So, for example, in your kotatsu drawing, you definitely employed a fair bit of form shading, rather than reserving your filled areas of solid black only for cast shadows (either from constructed forms or from smaller textural forms).

It definitely stands out that in a number of your drawings, you get particularly focused on decorating your drawings. What we're doing in this course can be broken into two distinct sections - construction and texture - and they both focus on the same concept. With construction we're communicating to the viewer what they need to know to understand how they might manipulate this object with their hands, were it in front of them. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces. Both of these focus on communicating three dimensional information. Both sections have specific jobs to accomplish, and none of it has to do with making the drawing look nice.

Above all else, remember that we're not simply looking to capture texture as a sort of decoration for our drawings. It must serve a purpose, to convey certain information, and there will be times when the scale of a given drawing will not allow us to go beyond a certain point of fidelity without that level of detail looking out of place. For example, wood is itself quite smooth, until you get up real close to its surface and start seeing signs of unevenness. It's not the wood grain itself that we necessarily see, though - that's honestly more of a pattern made up of local colour than a texture composed of 3D forms.

The form information that is actually present on that surface however all becomes fairly moot unless we're right up close to it - so when drawing a whole table, at least for our purposes in this course, getting caught up in the grain of its legs is definitely overkill.

Similarly, even if you see certain areas are coloured black (like in the desk lamp), ignore it. Treat the objects as though they are covered in a white material, and focus your areas of filled black only on cast shadows, as mentioned before. This allows us to leverage this tool - filled black shapes, that is - for a singular purpose, in order to communicate as effectively and consistently as possible with the viewer.

As a side note, there are definitely areas where I've used hatching lines to help communicate the curvature of a rounded, beveled edge. When employing this kind of technique, first and foremost don't go overboard with it. Secondly, do not "paint" that hatching on. In this course, you are allowed to employ a brush pen or a thicker pen, but only to fill in set shapes, not to actually draw them in the first place. For this, I want you to work entirely with your 0.5mm fineliner (or ballpoint as the case may be). The key is that your marks should be intentional and controlled - not using the element of randomness that can come from working with a brush pen.

Looking at your airconditioner remote (where we can see some of these more haphazard areas of solid black along those rounded edges), I also noticed that in the buttons, you filled their side planes with solid black. This constitutes form shading. As shown here, opt instead to define the shadows those buttons cast on their surrounding surfaces.

One last point - in some of these (like the barrel demo) you've pulled off some rather nice box constructions, with really well aligned edges with relatively consistent convergences (at least to the naked eye). With others - the remote control, the rice cooker, the kotatsu, etc. your box enclosures start off visibly wonkier. That is to say, the convergences aren't as consistent, and that trickles down to impact the rest of your construction. At this point, once it's in place, it's definitely important to continue adhering to that enclosure, rather than trying to correct it. But when drawing it initially, definitely put more time into ensuring those convergences are consistent, thinking about how each line ought to be oriented in order to meet at their shared vanishing points. Continued practice of the box challenge's freely rotated boxes (along with line extensions) should help with this as well, so make sure they're a part of your regular warmups.

Before I mark this lesson as complete, I'd like to see a few more drawings where you're not so focused on detail/decoration. I believe that without that additional distraction, you'll be able to demonstrate an even stronger grasp of the material.