Starting with your form intersections and cylinders in boxes, your work here is excellent. You're showing confident, purposeful linework, and a good deal of care and patience in its execution. I'm thrilled to see that you're still keeping to the ghosting method, and it's definitely paying off. Your use of line weight here is quite nice as well, as it blends smoothly into the existing linework. The intersections themselves, of course, also demonstrate a strong, well developing understanding of how these forms sit in 3D space, and the proportions on your cylinders in boxes are progressing nicely.

Continuing onto your vehicle constructions, there are a few issues that stand out to me, especially early on in the set - but the fact that they're concentrated earlier on, and that you demonstrate improvement over the course of the assigned homework, all makes me feel deeply satisfied with what I'm seeing. To put it simply - you've done very well, and should be proud of yourself.

Primarily what I see when I look at your work here is a great deal of discipline, and a great deal of patience. Especially towards the end, with constructions like the lamborghini and the solpiercer, you have shown a complete willingness to dive into each construction at its greatest depths, to pinpoint and determine every last little bit of spatial information, rather than to work via approximation and eyeballing. It's quite common for students to hit their limit with subdivision and precision, and there are a couple instances where you perhaps did so yourself - but I feel that as you progress through the set, you just show more and more patience and care.

It was actually as far back as your two boat drawings, right at the beginning, that you showed a greater tendency to cut corners, and that didn't last long. For the most part this came up when trying to judge curves and rounded elements. In [this one]() for instance, you didn't really provide enough structure to support the curving elements along the top of the boat, so you actually ended up skipping steps. You should have first built up the structure with more straight edges and flat faces, as explained here back in Lesson 6, and only rounded out the curves toward the end. Of course, I don't feel it necessary to explain this at length, because you've got plenty of instances later on doing this correctly (like the solpiercer I linked to previously).

Another issue I noticed - one that wasn't as noticeably fixed throughout the set - was in your use of line weight and filled black shapes. The use of these tools can, when done correctly, really help to organize and give a sense of dimension to the drawings, especially once we've piled on the constructional lines. When applying them, it's best to adhere to certain underlying rules, in order to keep our use of them consistent. There are some exceptions here and there, but always keeping these sorts of "rules" will help you avoid contradicting yourself, or communicating something you didn't intend to.

Now, one of the beautiful things about art in general is that we can choose to adhere to whatever rules we wish, as long as they remain consistent. It does however help to first look at what our priorities are, and what we're trying to achieve. In this course's drawings, the stylistic choices we're employing here will focus on communicating clearly with the viewer. That means thinking about how they're going to interpret certain marks, and then leaning into that as much as possible.

Due to our more limited toolset here (working strictly with pure black and pure white), the viewer will generally interpret the areas that are solid black as being cast shadows first and foremost - so when they see one, they'll try and make sense of it as a cast shadow, and try to figure out which form is casting it. When that assumption fails however, they'll eventually figure out what that shape was meant to convey, but by that point the game is already lost, with the viewer having to spend way too much time figuring out what they're looking at. So for that reason, we try to reserve those filled shapes of solid black for cast shadows, as much as possible.

In this boat it appears that you opted instead to use the solid black to distinguish the darker glass portion of the boat from the rest. Aside from a couple areas towards the top here, you did mostly keep to a consistent set of rules, so you do get points for that. Still, the end result came out somewhat more confusingly, because the viewer is still first going to try to make sense of all those black shapes as cast shadows. In this case, it would have been better to ignore the fact that the glass is transparent/darker, and instead draw the whole boat as though it were made up of the same solid, white surface. Then we'd be able to draw clearer cast shadows which help to establish the relationship between the different forms at play, in 3D space.

Comparing that boat instead to this Ford Model T and we can see just how much more effective it was to focus on cast shadows. Here the glass is indeed transparent (or not present at all), but we can even argue that the interior is solid black because it is entirely cast in shadow. It's one of those "exceptions" I alluded to earlier, but... only kind of. In this race car I can see that you did try to employ more cast shadows as well, but the back wheel's shadow got a little messed up, throwing the impression off with the rest. I can however see what you were attempting - mistakes happen, and sometimes drawings come out a little off. From what I can see however, the exercise was still successful.

The use of line weight is a similar thing to keep in mind. On that same boat, it seemed to be used kind of arbitrarily, to emphasize the silhouette of certain structures, but not others. Similarly to the cast shadows, there is a particular way in which line weight can be used to help keep things consistent, and to help organize what the viewer sees. Before we get to that though, I do want to remind you that I do mention in the "About your Tools" section of this lesson, that if you do opt to use ballpoint pen, you should be sticking with it throughout the entire drawing, rather than jumping to a different pen (like a fineliner) to do a sort of "clean-up" pass. I can see a number of places where you did indeed opt to do this sort of a clean-up pass, and ended up using line weight as an excuse to trace back over the linework of your drawing, and separate it into two parts. In this course, everything from the initial construction to the last details are part ofo the same drawing.

Now, the way we can adhere to that is by using line weight in a more limited, strategic fashion. Our construction generally maintains the same line thickness (rather than getting thicker/heavier as we move onto later steps), instead focusing our line weight towards the end to clarify how specific forms overlap one another. You can see an example here in these overlapping leaves, but basically we try to keep the use of line weight subtle and to focus it on specific, localized areas where those overlaps occur.

Overlapping lines, when they're of an equal weight, can create a sort of "4 way intersection", where your eye approaches along one street, and has to choose which of the remaining 3 it wants to go down. Our job is to eliminate choices - instead, to show the viewer which path to take. We can do this by using line weight to lift one "road" over the other, creating an overpass rather than an intersection. If the eye was coming along the lower road, then they'll continue along that path - if they were coming along the one that goes overtop, then they must instead continue following that path. With line weight lifting one over the other, the viewer's eye can no longer jump between them.

This can be controlled more efficiently if we actually refrain from using too much line weight all over. In fact, even the line weight itself can be added quite lightly and subtly, having a potent impact without shouting at the viewer's subconscious.

While this is an area I still feel you can definitely continue to practice and improve on, the Solpiercer was definitely the closest of the bunch to avoid separating it into an underdrawing/clean-up pass. There are certainly areas where you went back over that linework to separate it out, but as a whole it still felt more subdued, being much more subtle than the others, and more focused on clarifying overlapping elements.

Anyway, this critique has gotten much longer than I intended - it's not a common thing with work that I genuinely feel was exceptionally well done. So with that, I'll go ahead and mark this lesson, and the course as a whole, as complete. Congratulations!