Starting with your form intersections, the first thing that jumps out at me is that your linework is a little clumsy at times. There are a few areas where you're getting a little too relaxed, and need to perhaps put more time into each individual mark you draw:

• Some of your straight lines are smooth and crisp, while others get a little sloppy - a bit of wavering, some gaps, overshooting, etc. Make sure you're applying the ghosting method in its entirety - taking the time to plan out your stroke, identifying what specifically that mark needs to accomplish, finding a comfortable angle of approach, etc.

• This is especially important when drawing boxes - it seems you're not thinking as much as you should about how your lines need to be oriented in order to converge consistently with the other lines with which it shares a vanishing point. Take more time, don't rush through things, and make sure you're not going on auto-pilot. Every mark requires your attention.

• You're drawing through your ellipses too much. Draw through them two full times, no more, no less. When you do it too much, your ellipses get hairy and you end up losing track of what specific shape you were trying to pin down.

• As mentioned in the instructions, avoid forms that are stretched in any one dimension, like longer cylinders.

Moving onto your object constructions, you're largely doing a pretty good job. There are some issues I'll address, but you're following the process of building things out from simple forms and applying the subdivisions fairly well. You've tackled a number of different kinds of subject matter, from things that are more simple (a good place to get started) to more complex subjects like your nintendo switch. Honestly, I especially liked the razor, as it seems like a pretty simple object, but you were able to dig deep into all the nuance and complexity contained within it.

One of the things that stood out to me was that when tackling some of the irregular curves of your spray bottle at the end there, your approach was a little more vague and estimated, rather than relying on a core structure of solid, straight forms. I talk about strategies for approaching curves, and some of their pitfalls here in the notes - basically curves are by their nature, vague, as they can represent an arrangement of different kinds of straight edges. In order to create a curve that feels purposeful and specific, we need to start first with straight lines, then round them out.

Additionally, in regards to the spray bottle, by going back over your drawing with a different pen to draw the "true lines" of the object, you ended up breaking away from what I mentioned in this section, where I gave permission to use a wider variety of tools than usual:

Ballpoint pen for your linework (don't switch pens to do any sort of "clean-up" pass - use the same pen through all your lines, including construction/box subdivision/etc)

Looking at your nintendo switch, I did notice that while you broke down the main core of the object with subdivision properly, you went a bit more loose with the buttons and thumbsticks. In this case I would have built out boxes for the thumbsticks at least, placed a central minor axis down and then constructed them from ellipses, drawing through them to fully grasp how they each sit in relation to their surrounding surfaces. Here you very much broke away from the standard "drawabox" way of doing things. Remember that each such situation is a choice being made consciously - you can choose to draw through your forms and approach them with the principles you've learned throughout this course, or you can choose not to.

One thing that sometimes causes students to make the "wrong" choice is time - sometimes they feel compelled to finish a drawing within the time they have allotted for a given session, and might feel themselves inclined to rush. There is nothing saying a drawing needs to be completed in one go, and that you can't spread it across multiple sessions. I read something related to this from one of my earlier demos (potato plant from lesson 3) that seems pertinent here:

It's totally normal for your brain to insist that this is too hard, when it's actually not. It's like walking up a really big hill - it's not hard, it's just tiring. Given infinite breaks you can walk up any hill (barring starvation, injury, or bears).

As long as you're not drawing anywhere near any bears, you should be fine to go through all the difficult steps, given infinite time.

I think keeping that in mind will help a great deal once you hit lesson 7. To that point, I'm going to go ahead and mark this lesson as complete, so you're a step closer to that particular hell (though not there quite yet).