Starting with your form intersections, you've done quite well here. The intersection lines themselves demonstrate a strong, nuanced understanding of how these forms relate to one another in 3D space. At this stage it's common for students to have developed quite a bit since Lesson 2, but to still have a ways to go - usually they'll show lots of confidence with the simpler flat-on-flat intersections, and even with the flat-on-curved ones, with the curved-on-curved intersections still having some issues. In your case however, you're approaching the exercise with the kind of confidence and self-assuredness that tells me you've got it nailed down pretty solidly. So congratulations on that!

I will note that your linework, while it's exceptionally confident, you may still want to be mindful of using all of the steps of the ghosting method - specifically the planning phase, where we lay out the start and points of our intended stroke. Right now you're clearly demonstrating the capacity to execute really smooth strokes, but you do still struggle with under/overshooting. While that is something that relies heavily on mileage, that mileage being informed by appropriate planning and preparation is important.

Continuing onto your object constructions, your work here is similarly fantastic. You've demonstrated a great deal of patience and care as you've built out your structures, and have invested your time in every step. I can see little to no skipped steps, which really shows that you've internalized the value of this activity not in terms of producing an end result, but rather as an exercise - a spatial puzzle, the act of which is intended to rewire how your brain thinks about the things you draw, and how it engages with 3D space.

At the core of this lesson is the concept of precision - effectively thinking about the choices we're making ahead of time, so that every action has a clear goal. Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.

So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.

In our constructions here, we build up precision primarily through the use of the subdivisions. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study, then apply those same proportions to the object in three dimensions. While you haven't included any orthographic studies here (which is not a problem), many of your constructions really suggest the use of them anyway, and to a much farther degree than the lesson material actually conveyed. I'm very pleased to see this.

In fact, I only just altered the lesson a few days ago, adding this section to build upon how orthographic studies were originally introduced in the computer mouse demo, and to show how they can be used in a much stricter, more directly beneficial manner. I do still recommend that you go over that section as well as the demo included with it, but looking at constructions like this one, I think it's clear you understand how to leverage such tools already.

To be honest, I really have no complaints. Your work here is excellent, so I'll be marking it as complete. Keep it up, and I look forward to seeing you leverage every bit of it for your work in Lesson 7 - but there's one more challenge before we get there.