Starting with your form intersections, as a whole you're handling these quite well - you're drawing each form in its entirety, establishing them each as a solid element in the scene, and through the intersections you're demonstrating a well developing grasp of how these forms relate to one another in 3D space. You could probably stand to put just a little more time into the planning/preparation phases of the ghosting method for each mark, but for the most part they're well executed as well - there just happen to be a couple that were a touch loose or not entirely straight.

Continuing onto your object constructions, you were off to a good start with the hole punch - you laid down a good bounding box right off the bat, and you were fairly meticulous about figuring out where different elements of the construction (corners of certain forms, for instance) would be situated along the box. Of course, don't be afraid to push the subdivision further though - the more specific and precise we can be with this, the better.

So for example, as marked out here the little dots the arrows are pointing to should technically be at the same position along their respective side edges, and so the distances marked as A and B should be equal. This could have been achieved with more precision by pushing the subdivision further to break those side planes into halves, then quarters, or thirds if that would be more effective to find that specific location.

That said, this exercise is the first in the course that really puts emphasis on precision, so it's understandable that students may take some time to get used to it. For the purposes of this lesson, I would consider the level of precision/specificity with your measurements here to be pretty adequate, though it would fall far short of what I'd hope to see in Lesson 7.

Unfortunately, as you progressed through the set, I can definitely see that your approach varied quite a bit throughout, with some of your drawings throwing that precision aside altogether. You noted yourself that you got into the habit of "sketching", and I think that's a good way of describing the way in which you've veered a little off track here. Sketching is a wonderful thing, but it's an approach that is more about exploration and experimentation, where the ends justify whatever means were used to achieve them. This course, however, is quite different - each drawing is an exercise, and it is very much the methodology used - ghosting through every single mark we draw, taking the time to plan and prepare before executing our marks with confidence, and executing one stroke per mark rather than going back over them several times. Each drawing is an exercise that helps develop our line confidence, our patience and discipline, and our capacity to understand how the things we draw exist in 3D space. And so, sketching is definitely not how we want to be tackling these drawings.

This definitely hit some of your drawings worse than others. The hole punch, as I mentioned, was progressing nicely, but as you moved forwards you were more and more willing to rely on loose and approximate relationships between your phases of construction. For example, with this roll of tape you treated that initial bounding box as more of a loose suggestion, and were way too willing to ignore it. I'm guessing that you realized your proportions were off. These things certainly happen, but remember that our goal here is not to perfectly reproduce our reference image. The reference image itself is just a source of information that we use as we produce something that, above all else, feels solid and three dimensional on the page. Every time you break away from the previous phase of construction, you introduce contradictions and risk undermining the viewer's suspension of disbelief.

Again - remember that these drawings are exercises. That they're basically 3D spatial puzzles that we're putting our brain through, gradually rewiring how it perceives the space in which our drawings exist.

The thing is, when we're forced to work as meticulously as this, plotting out all of the scaffolding needed for later phases of construction, some of these drawings can take a really long time. I think here you may be somewhat underestimating just how long that can be. This lesson is definitely more forgiving with students, but when we really kick it into high gear, the drawings students complete for Lesson 7 can easily take several hours and more. I've had students take upwards of 10 hours on a single drawing.

The reason they were able to commit so much time is that they allowed the task to dictate the terms. It's common for students to feel that because they only have, say, 30 minutes to spend that day, that the drawings they work on must be completed in 30 minutes. Of course, this is entirely ignoring the fact that they could simply work on the drawing for 30 minutes that day, and then work on it more later. In this sense, there is nothing stopping us from giving an especially complicated drawing hours and hours - because there's no limit on how many days we can spend, no deadlines to which we must adhere.

So, I am going to assign some revisions below, to give you the opportunity to shift your approach with this. Set aside the mindset of sketching, where you're putting lots of lines down where only one is needed - if you find your tools are forcing that behaviour, then grab different tools. Although I can see plenty of examples where you did a fine job with your linework, executing singular, clean strokes - so it could just be a matter of putting more time into the planning and preparation phases of each mark.

Don't set your own deadlines or expectations - allow each object to dictate its own terms. A drawing consisting of just 6 marks, like a box, may only take us a couple minutes. But if a drawing demands hundreds of lines, between its subdivisions and structural marks, to crafting all of the major forms and breaking them down into tighter, constructed detail, then it is inevitably going to take far longer than that.

Lastly, I am seeing a bit of a tendency here to start out with a box, and then to just draw your object inside of the box. Instead, think of it as though you're carving or sculpting, and you've placed a giant block of marble or clay or wood or whatever in front of you. You now have to strategically carve chunks out, defining every interaction individually. It is very muhc a step-by-step, gradual thing, and the more you can define every separate action as its own linework in your drawing, and the more closely you can adhere to that structure as you build up to greater complexity, the more solid and three dimensional your result will feel.