Starting with your form intersections, what I'm seeing here definitely does suggest that you do understand the relationships between the forms as they sit in 3D space, but there are a lot of places where you're perhaps jumping to a conclusion based on what you think is correct, but without necessarily going through the process of actually evaluating the surfaces that are present and how they might interact with one another. This results in a lot of little mistakes (for example, using straight edges for the cylinder-box intersection towards the bottom right). I have noted a number of corrections here for you to look through.

Another point to keep in mind is that for this exercise, it's best to only draw the portions of intersections that are visible. While we do draw "through" our forms throughout the course, that provides considerable benefit with minimal increase in the complexity of the task, whereas drawing through intersections tends to have the opposite impact, increasing complexity to a distracting level and providing minimal additional benefit. The only exception is that if the intersection would be an ellipse (which happens pretty rarely, as it requires forms to be aligned specifically - like a cylinder being aligned with the center of a sphere), you can draw the entire ellipse in that case as it'll help you achieve the correct curvature.

In terms of the construction of your forms, you've demonstrated a great deal of care and patience, taking care to apply the ghosting method throughout, and leveraging lots of planning points to build out your forms.

Continuing onto your cylinders in boxes, I'm only counting 5 line extensions down the lengthwise direction of your cylinders - make sure that you are extending the minor axis for each ellipse separately, and that you are not merely extending the line around which you planned your ellipses. The minor axes we want to be extending are the actual minor axes of each ellipse.

Continuing onto your form intersection vehicles, for the most part these are well done (with this airplane being the exception - the task was to construct vehicles from the same kind of primitive forms you'd use in a regular form intersections exercise, the main difference being that they'd be laid out in the general plan of a given vehicle). The main focus of this is to remind students that even though a lot of the more detailed vehicle construction demonstrations make it seem as though we're building up a forest of lines, and only stitching them together into a final object at the last step, that we still want to be very much thinking in terms of working from big to small, and simple to complex. In other words, just as with the rest of the course, we're still to be thinking in terms of carving the object out of a single block of wood, rather than building it up from toothpicks.

This pickup is the best example of this (the cab is technically a little more complex of a form, but that's not a big deal). This hatchback isn't bad, although you definitely broke away from the ghosting method when constructing the cab portion, where you also implemented a more complex form. This truck is a bit mixed - for the most part it's fine although towards the front you end up drawing marks that aren't part of any defined 3D form. Also, the way in which you constructed the wheels in the pickup/hatchback as a single cylinder across two wheels, around a minor axis line, was definitely preferred over the singular wheels without minor axes.

As you pushed further into the lesson with the more detailed vehicle constructions, I think your patience and care with your approach as a whole started to shine through more strongly. Your use of orthographic plans is extremely thorough, and you've done a fantastic job of breaking your objects down from different angles and identifying critical landmarks that could be used to transfer the structure into 3D space. Your constructions came out feeling very solid and well constructed throughout the set. The F22 Raptor was especially well done, and it's hard to argue with how well you captured the front of the Dodge Challenger in particular (although I think the cab is probably a little too tall, without enough of a slope on its back end causing it to also appear too long - similarly to how the degree of the far end of a cylinder gets wider, the further back an element like this is along the structure, the more elongated it'll appear.

One thing I did want to comment on is the choices in terms of where you leveraged filled areas of solid black. In this course, since we're working strictly with black and white, we have a lot of limitations in terms of the visual elements we can bring to bear. For example, those filled black spaces are a visual element, in that they can be used to convey to the viewer a variety of kinds of information. The trick is however, that the more we use a particular kind of element to convey, the more the viewer has to stop and consider (even subconsciously, in the time frame of milliseconds) what a given instance of that visual element is meant to represent.

So for example, there's three ways in which filled areas of solid black are employed in your Peterbilt 379:

• Cast shadows, where a form blocks the light from reaching another surface, effectively projecting a shape of black onto that new surface, and defining through the design of that shape the relationship between the form casting it and the surface receiving it.

• Form shading, where depending on the orientation of a given surface, it may be lighter or darker - this is also something that could be ascribed to your use of hatching, where you've attempted to create halftones between the stark black and white, but which admittedly don't really mesh all that well with the rest of the heavy use of black vs white. It's for this reason that we don't generally use hatching in our actual constructional drawings, and only leverage it more abstractly when drawing primitive forms, so as to add more clarity when we're drawing through those forms.

• Void spaces, where it's less about the filled black shape representing a given surface or part of a surface, and more about differentiating it from the other surfaces around it. For example, the wheel wells, where the empty space gets filled with black, regardless of whether there's a surface there to receive it.

Technically a fourth that I sometimes see from students is local/surface colour, where despite leaving other colours out due to our limitations in terms of the tools we're using, some students will still try to capture one colour as areas of full black. Glad to see that this isn't being employed here.

Ultimately you'll find that the fewer of these different kinds of things you're representing with the same visual element, the more clearly (and cleanly) your object will read, saving the viewer those momentary hitches where their brain has to expend extra processing to understand what it's looking at. Ideally (and this is somewhat subjective, and very specific to the priorities of this course in particular), you'd only use filled areas of solid black for cast shadows, leaving form shading out entirely (per what's explained here in Lesson 2), and also avoiding filling in void spaces more arbitrarily. This ensures that the only use of the visual element is one that specifically brings us back around to conveying spatial information, and defining spatial relationships.

There are however two exceptions to this:

• When you've got an interior for your vehicle visible through the windows - the dashboard, seats, etc. - it's fine to fill those in with black. While the excuse I'd usually use here is that the external structure of the vehicle would be casting shadows upon the interior surfaces, that's not technically fully accurate, since light would still be able to come in through the windows. Still, it helps provide separation from the exterior and avoid becoming a distracting focal point, while still allowing us to convey information about the interior through the use of those silhouettes.

• When shadows are cast onto the ground plane beneath your vehicle, I usually prefer to simply outline the shadows, without filling them in. This is even more subjective, but I find that often this helps avoid having that biggest of cast shadows draw a ton of attention, keeping the focus on the object itself.

Anyway! All in all, your vehicle constructions are very well done. Just be sure to be more mindful when tackling those form intersection and cylinders in boxes exercises, as to their individual instructions and the spatial considerations involved therein. I'll go ahead and mark this lesson - and the course as a whole - as complete.

Congratulations!