That album certainly shows a significant amount of improvement and growth! While you're certainly right about the end of Drawabox simply being the start of your next steps, let's get to the critique and see if you are indeed done, or if there may be a few more things to address before you continue on.

Starting with your form intersections, I have unfortunately noticed a few notable issues - the most notable of these is that you're still drawing your intersections all the way around, despite the fact that I specifically addressed this in my critique of your Lesson 6 work:

I think one of the issues that is making this exercise more difficult is that you're not actually approaching them in the same manner shown in the exercise instructions. That is, you appear to be drawing your the intersection all the way through, both where visible and where not visible (due to being blocked by the form itself). While normally we certainly do stress the importance of drawing through our forms, for this exercise it's already extremely challenging on its own, so we focus only on the part of the intersection we can see.

While there is further feedback to give, this suggests to me that you may not have given yourself as much time as you required to absorb and process the feedback that I'd provided previously, and the nature of this issue does indeed make everything else considerably more difficult - meaning you put yourself at a notable disadvantage in applying the rest of the feedback for this exercise. As such, I'm going to leave any further feedback for when you're able to take another swing at this exercise.

Unfortunately, moving onto the cylinders in boxes, it appears here you're also not applying this exercise correctly - at least, not entirely. Your line extensions are incorrect, as you are neglecting to extend each ellipse's two contact point lines. Given that you did this correctly in the cylinder challenge, I assume this may simply be the result of you working from memory, rather than reviewing the instructions and ensuring that you're following them to the letter - so I'll leave you to review that material yourself.

Carrying onto your form intersection vehicles, by and large you've handled this part well, although you actually didn't need to construct them inside of bounding boxes. As mentioned in the homework section where this part was assigned, it's really just a matter of drawing a bunch of primitive forms as you would in the form intersections, but in the layout of a vehicle.

I do have one additional suggestion to offer however. As shown here, if we apply line extensions to the fork lift's prongs, we'll pretty easily see that they are diverging as they recede in space, and that they are not converging consistently with the other lines of the construction with whom they're meant to share a vanishing point. Now, it's not especially out of the ordinary to have convergences not be perfect, but in this case the fact that we are permitted to use a ruler does give us an advantage beyond simply being able to draw straight lines without much trouble.

The ruler itself, being far longer than most of the marks we wish to draw, actually allows us to see a visual extension of the line before we actually draw it. Meaning, if we're paying attention, we can shift the orientation of the ruler (and the line we wish to draw) to bring those convergences in much more closely. It's simply a matter of taking the time to leverage our tools as best we can.

I also want to note that when drawing your ellipses, they are extremely hesitant and wobbly, which suggests that you are not correctly applying the ghosting method when executing them. The ghosting method, as discussed back in Lesson 1, allows us to shift all of our time investment to the planning and preparation phases, allowing us to commit from the moment our pen touches the page to executing that stroke with confidence, regardless of how it ultimately turns out. It is fine, as long as you're following the steps and approach as instructed, to have it go awry when executing it with confidence. But executing it hesitantly as a result of fearing the possibility of getting it wrong is contrary to what this course teaches.

Finally, moving onto your more detailed vehicle constructions, there are two main issues of note that suggest to me - along with many of the other points I've already raised - that you simply haven't given yourself adequate time to digest both my feedback on past lessons, as well as the notes and resources provided in this one.

Firstly, when creating orthographic plans, you appear to rely by and large on subdividing your bounding box evenly. When you need your divisions to get closer to the major landmarks of your vehicle, you subdivide further, again doing so evenly across the structure. We can see this, for example, in the orthographic plans of this fighter plane. This is unfortunately not correct.

As explained in the orthographic plan section for Lesson 6 (which is referenced here in Lesson 7), the purpose of the orthographic plan is to decide specifically the proportional relationships between the elements of the object we're constructing. It's not about simply identifying them closely enough, but rather actually deciding which proportions we'll be using for a given object (even if our decided proportions differ from the reference object in some small ways). Rather than subdividing the whole grid evenly, we use all the techniques at our disposal - from subdivision, to mirroring across an axis, to repeating measurements back in space - to locate each landmark in the orthographic, so that we can then go on to reproduce that same grid exactly in three dimensions. This results in the process of constructing the object in 3D space to merely be a matter of following the steps we've already laid out for ourselves. We can also see here on one of your orthographic plans that there are a ton of major landmarks left undefined. In some cases, you did have vertical or horizontal lines drawn for some of them, but as they did not actually seem to bear any specific relationship to the subdivisions, they just appeared to be arbitrary lines - like you were going through the motions of identifying those locations, but not actually considering whether or not it was providing you with additional information. And the last thing on that point - you also appear not to be heeding the advice here from Lesson 6, where we break down curves into chains of straight edges. This provides us with additional useful landmarks.

The orthographic plan section in Lesson 6 I linked above goes into this into greater depth, and includes a demonstration on how this can be applied.

Secondly, I'm not seeing any signs of you employing the "constructing to scale" technique explained here. You appear to skip over it entirely. This technique is extremely useful to ensure that the proportions of the overall bounding box are consistent, that our front plane relates appropriately to the side, and so on.

The last point I wanted to quickly make, which is less important than the others, but still worth calling out is that your use of filled areas of solid black appear to be rather arbitrary. Often times you seem to fill in side planes of forms (essentially applying form shading to them, which as discussed here is not something we do in our drawings for this course). Remember that filled areas of solid black should be used for cast shadows only, and you should not simply be filling in shapes that already exist as part of your drawing, as cast shadows are generally new shapes that are designed as a result of the relationship between the form casting it, and the surface receiving it.

There's one "exception", where we usually fill in the structures on the interior of a car - but the logic there is that because it's on the inside, it's receiving shadows from the exterior shell. That's not entirely accurate, but it holds up well enough, as that still requires us to consider the specific forms that exist inside of the vehicle (the seats, headrests, dashboard, etc. in the case of cars) before filling them in, much as we have to consider the relationship between the form casting a shadow and the surface receiving it in order to design the desired shadow shape, before filling it in.

Now, as a whole, your work here could be a lot better. There are many clear signs that you simply didn't give yourself adequate time to process all the information available to you. You certainly did spend loads of time on your actual constructional drawings, but if the steps you're meant to use aren't being applied correctly, that time is not being used as well as it could be.

Unfortunately, I am going to have to ask you to complete this lesson again, in its entirety - once you've had adequate opportunity to review the feedback you've received in previous lessons, and the material included in the lesson itself. When you have finished it, you'll need to submit it as a new submission, which will cost you two additional credits.