This lesson - hell, this course - is all about learning how to do things intentionally, how to figure things out logically, in order to ultimately train your intuition. If you were to use your intuition while training it, you'd only end up with a mess.

Now, your work is all quite well done, but what I mentioned above in response to your comments really is important. At no point are you expected to take shortcuts - and in this regard, eyeballing things when you have access to a ruler, when you could ostensibly apply further subdivision, etc. would be a mistake. The point is to take all the tools you have at your disposal and use them in whatever way is going to yield the strongest result. Not to prove that you can work without them, or anything like that.

Furthermore, it's totally normal to be too tired after digging through so much complex construction to add details at the end - but there's a simple solution to this. Just do it the next day. There is no rule saying you're expected to complete a drawing in one day, or one sitting. You can split it up as much as is needed, as long as you're meeting that goal of producing work that is to the best of your current ability.

So! All in all I am extremely happy with the amount of subdivision you've put into your constructions. You don't appear to have spared any effort in pinpointing the exact locations of individual elements, and a great example of that is how you approached this game controller. For this one, I have just one very minor point to mention - save your filled areas of solid black only for cast shadow shapes. There are situations where you might be inclined to use them to either colour something in and capture the local colour of a surface, or to distinguish one face of a form from another, but as a rule, save them for the shadow shapes cast from one form onto a neighbouring surface as shown here. The reason is simple - if we save them for just one purpose, they'll accomplish that one purpose very effectively, and the viewer won't be confused as to what a black shape could mean if it's kept entirely consistent.

Another minor point, this time relating to your pressure cooker, is that when you decided to cut that protrusion on the right side of the drawing short, you kind of skipped a step. You had a box that extended all the way to the bounds of the box, but you decided only to construct that piece up to an arbitrary distance away from those bounds. Here's what I mean. Shortening that simple box, then constructing the piece inside of it would have given you a stronger scaffolding to work from.

In general, I'm not at all concerned with your proportions. While learning how to study proportions is something you'll have to get more experience with, in the context of this course it actually provides an interesting opportunity to test your skills. See, when working with direct observation as some other courses do, proportions are incredibly important to reproduce something believable. The way we work however, even without correct proportions your objects still look like they're physically real. The fact that one piece isn't as long as it ought to have been simply makes it a real object that was produced to strange specifications. The blame falls on whoever "made" this object, not on you who is drawing it. The fact that despite being disproportionate, it is still entirely believable, means that you have developed a very strong grasp of how to build things up in 3D space.

So, again. I am VERY pleased with your results here. You've demonstrated an excellent grasp of 3D space, fantastic attention to detail, and incredible patience in hammering out all these specific subdivisions. Don't shy aware from that - it's exactly what I want to see, and it will serve you very well in lesson 7. Just make sure that you don't set up arbitrary limitations for yourself.

I'll go ahead and mark this lesson as complete. Keep up the great work.