Jumping right in with your form intersections, you're off to a great start here. While it's entirely normal for students to have much more success with these here than they did back in Lesson 2, it's usually that I see more comfort with the flat-on-flat intersections, some increasing comfort with flat-on-curved and then continued confusion in regards to curved-on-curved. What I'm seeing here however is a great deal of comfort across the board. You're clearly showing an awareness of how the intersections break down into pieces based on which surfaces are intersecting and where, and as a whole are showing a well developed spatial sense.

Continuing onto your object constructions, one of the main purposes of this lesson is to serve as a major shift in the way in which we're looking at construction and how we approach building things up throughout the process, and it does so by putting a much more significant spotlight on the concept of "precision", and how precision can be generally increased in the way that we work.

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.

While in lessons 3-5 we worked much more organically, putting forms down and then pressing forward from there, in our constructions for these last lessons, we build up precision primarily through the use of the subdivisions, ensuring that our intent is clearly established before defining the forms and edges themselves. 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.

By and large you've done a very good job of this. I can see that you put a lot of time and attention into each step of each construction, and throughout the process you've been very attentive to how those subdivisions can be pushed yet farther to give you a more solid scaffolding upon which to develop your object.

There are some small suggestions that I have to offer, but as a whole I really think you've knocked it out of the park here:

• For your guitar, the way you approached the body of the instrument is by all means acceptable. You blocked out boxes, and within those boxes, you built cylinders, which you then combined together. The only shortcoming of this approach is that it doesn't allow you to capture all of the nuanced elements of the forms. You did try to build off the cylinders to achieve them, but as shown here the structure you were working off wasn't actually symmetrical (due to the looser ellipse), and so that kind of threw elements of the construction a little bit out of whack. This is not actually a problem for the purposes of this lesson though, since following the reference perfectly is not the goal. The goal is to achieve a solid structure as a result, and you certainly did. But there are ways this could be improved. The way I'd tackle a structure like this is actually by building it up as a "boxy" form, representing what are curved edges in the object as a chain of straight lines as explained here. Then towards the end, once the structure is defined as a much clearer, more specific boxy structure, we can round out the edges as shown here.

• The same principle can be applied to your teapot's handle. I don't have a demo for that, but I do have a similar one for a mug handle, which you can see here.

• Remember that the areas of filled black should be reserved only for cast shadows. There are a few places where you end up falling back into filling in the side planes of objects - like here on the guitar, which is more akin to form shading (which as explained here in Lesson 2 should be left out of our drawings).

Anyway, as a whole you're doing a great job. I'll go ahead and mark this lesson as complete.