Alrighty! So starting with your form intersections, these are mostly well done, aside from one main issue - you tend to apply somewhat more dramatic foreshortening to your forms than you should. With a scene like this where you've got all of these different forms all gathered together, more dramatic foreshortening on individual objects tends to throw the sense of scale out of whack. As a result, it can make it kind of difficult to parse the relationships between the forms in some ways. When doing this exercise, it's always best to focus on relatively shallow foreshortening, maybe just very slight convergence, to help keep it all consistent and cohesive.

There are a couple other things to mention:

• I noticed a few intersections, specifically those with rounded surfaces, that you drew as being straight. I've marked them here.

• Don't forget to use that central minor axis line on your cones, they're very useful

Continuing on, your cylinders in boxes are looking good, so I won't dwell on those, and will jump right into the meat of the lesson.

As a whole, I think you've done a pretty great job with this lesson. There's really only one drawing I felt didn't really reflect just how much you know and understand about the processes covered in the lesson content itself, and that's this plane, and the issue is more that I think you attempted to employ the wrong strategy from the get-go, and then changed your mind as you worked through it. As a result, it looks like all the pieces were in place for you to employ the whole container box with subdivisions to precisely nail all of the various features of the structure, but then you realized that you hadn't entirely thought it through. The result ended up being that the plane really isn't that bad, but it sets up the expectation for precision that really isn't there because the plane wasn't actually constructed in relation to that box (the nose is not touching the center of the front plane, for example).

I was actually mistaken - a little further down, there is one other construction that follows a similar path. This motorcycle was constructed within that enclosing box, but I don't really see you making use of the box (through subdivision) to really determine where its elements ought to sit. When it comes to a construction like this, I think the best approach to use is always going to be big to small. Start with your enclosing box, and then use it to place big, major forms within it, stacking them up in really simple terms. Don't worry about specifics - make your wheels cylinders, make the main body of the motorcycle a box, and so on. Then, once those are in place, chisel them down further. Build more complex forms within those simple ones, treating those like the "container boxes". In doing this, we take a problem that is complicated when the whole thing is tackled all at once, to a series of individual simpler problems that can be attacked one at a time.

Anyway, I see no point in dwelling on it, as the rest of your constructions show a clear grasp of how the container box and subdivision approach to construction of these kinds of things is meant to be employed. Despite being an early one, this car is my favourite of the set. The proportions, the overall structure, and the solidity of the result all result in an iconic structure. You captured the design so well that it makes me want to lift it off the page and have it for a toy. You've demonstrated considerable patience as well, in subdividing everything as needed to ensure that each element was positioned with precision and planning - but this drawing is not alone in this regard.

You've done so through just about everything but the plane, even more unique subjects like the boat, which itself came out very nicely.

Skipping through your set, I actually didn't notice until just now that you did in fact have another plane, which came out considerably better, both in process and in result.

One thing I do want to call out in a few of these is your use of filled black shapes. There are a number of cases where you primarily fill entire surfaces of objects, often specific planes to help visually separate them from one another. For example, the inside of the wheel well of this van, the interior of the plane, and what I think might be the inside front face of the top of this tank (though I'm actually not really sure how to make heads or tails of it). The thing to keep in mind with this kind of drawing is that since we're working with relatively limited tools - a black pen, maybe a marker/brushpen to fill shapes in - we have to be very specific in what kind of areas we allow ourselves to use certain tools. When it comes to filling in shapes with solid black, I've found that it is best to stick to using those filled shapes only for capturing cast shadows and nothing else. Not for differentiating faces, not for coloring in something that might have a dark local colour, etc. When you start allowing it to be used both for cast shadows and for filling in these faces, it starts to make things visually confusing, and can make it hard in some cases to make out what exactly we're looking at.

So! I've laid out a number of observations, and while I think there is of course still plenty of room for growth and improvement, I am overall rather pleased with your results and think you have done a good job of employing the principles covered in this lesson, and throughout this entire course. As such, I'll go ahead and mark this lesson as complete.

Congratulations - you can now consider yourself a completionist of the course. While there are other optional challenges for you to complete, they are by no means required. As far as being worried about what to do next - that is entirely normal, although it is precisely why the 50% rule from Lesson 0 is stressed so heavily. If you spend half your time drawing for the sake of drawing, then if the course you were doing for the other 50% ends, you still have a path forward in the meantime.

Best of luck as you continue forwards on your own!