Starting with your form intersections, these are very solidly done. Not only are you drawing the individual forms such that they feel cohesive within the same space, your intersections are also demonstrating a very well developing understanding of how these forms all relate to one another within 3D space. I only really noticed one very small issue that I wanted to nitpick on, for the pyramid/box intersection towards the upper right of the first page.

As shown here, we must first pay attention to the general flow of the box's face, with which the pyramid is intersecting. If it were two boxes intersecting, then our intersection line would follow the same orientation as those blue arrows. Since however the pyramid's faces angle in towards the pyramid's apex, we have to account for this when drawing our intersection. Either way, it still results in a much shallower, longer intersection than the one you'd initially drawn.

Either way, the vast majority of your intersections here are really well done - including those between the much more challenging pairing of different curving surfaces.

Continuing onto your object constructions, you've really knocked this one out of the park. The sheer level of precision to which you've broken down each construction speaks to an incredible level of patience and care throughout the process. That word - precision - speaks to all of the steps we take before putting a mark down. Like how we place the start and end points in the planning phase of the ghosting method, here we define the specific positioning for elements in 3D space using subdivision and other similar techniques for finding the specific measurements or proportions we identify in our reference objects. It's this sort of declaration of your intentions prior to the actual execution of your mark, which increases the precision of a construction. That is very much what we're after here in this lesson (especially after working with far more forgiving organic constructions up until this point), and it's something that you have pushed to an amazing degree.

One construction that stands out especially in this regard is your xbox controller. At first glance, it looked like despite all of the constructional lines in place, that you eyeballed and approximated the smooth, organic curve along the underside of the controller. But upon closer inspection, I can see that a significant portion of this curve is actually composed of straight lines, connecting specific points that you'd identified earlier. That is precisely what I want to see, but you did it with such subtlety that I almost couldn't tell. That, in combination with how specifically you identified the location and footprint of every button and how you constructed the thumbsticks - frankly, I'm blown away. I find it hard to imagine that I'd be able to pull it off as cleanly as you did, especially considering all of the different lines you had to keep straight in your head.

Admittedly, you're not without some mistakes - but frankly, the way you handle those mistakes continues to turn in your favour. For example, for the lego man construction, you started out with a bounding box that seems a little skewed, specifically in the convergences between the lines defining the top and bottom planes. Despite this, you held firm to the specific structure you'd started with, instead of making any attempt to correct or redefine the initial box. You made a mistake, but you accepted it as an assertion and declaration that had already been made, and you stuck with it. That is precisely what I would want to see in such a situation. Mistakes happen, but if we allow ourselves to bend over backwards to try and correct them, we'll only do more damage. Accepting these things and continuing forward shows regard for the fact that these drawings are exercises, rather than performances, and we will continue to learn from them as we work through the problem (even if the result is not perfect).

Before I finish this up, I'll quickly address your concern about foreshortening. For these objects - especially the smaller ones like the xbox controller - shallow foreshortening is appropriate. That doesn't mean that you should try to keep all your lines as parallel as possible on the page - this toilet for instance actually ends up being a little too parallel, and in some places actually ends up diverging. Remember that the only situation in which a vanishing point would "go to infinity" (as discussed in Lesson 1), resulting in lines being parallel on the page, would be if that set of edges in 3D space runs perpendicular to the viewer's angle of sight, without slanting towards or away from them at all. In any other circumstance, there should be at least some convergence, even if only very gradual and slight.

As we deal with larger objects, the need for more convergence increases, as it is this convergence which tells us about the scale at which we're working. More foreshortening tells the viewer either that an object is large, or that it's very close to their eyes. For small objects, minimal foreshortening is appropriate - and as the objects get bigger, more notable convergences are what we'd want. Once we get into vehicles in Lesson 7, the foreshortening will definitely increase there as well.

So! With that, I'll go ahead and mark this lesson as complete. Keep up the fantastic work.