Well, I can confidently say that this is probably the critique you've been waiting for - you've done a bang up job, and have knocked this one out of the park. But you probably already knew that, given that we have talked about some of your drawings as you posted them in the patreon lounge (which in the interest of getting my pile of critiques done with a few moments to spare to spend time with Scylla on Valentine's, definitely counts as part of my critique!)

Starting with your form intersections, I'm seeing a generally strong understanding not only of how to construct these forms such that they fit consistently within the same space, but also a pretty good grasp of how they relate to one another in three dimensions, based on the general correctness of the intersection lines. I do think that when you get into those S-curve round-on-round intersections there is room for improvement in terms of how intentional and specific the curves are when drawn, but you're very much headed in the right direction and that's really the last leg that'll solidify with practice.

I've marked out a few little corrections on one of your pages - for future reference, PDFs are not super conducive to this kind of markup, as it's very difficult to grab a higher resolution image from a page, and I have to effectively resort to screenshotting. Google Drive/Photos are a little better (but still usually require me to download the image to my harddrive), whereas other hosts like Imgur that let me just copy the image from the browser are ideal for this purpose.

You'll see that along with the red intersection corrections, I also drew some arrows in blue. These denote the flow of a form's surface in a given dimension, and they help us to break down the complex problem of determining the specific relationships between the forms, into looking at the relevant parts of those surfaces. These kind of give us the puzzle pieces - with flat-on-flat intersections it's much more straight forward, because we always just jump from one of these pieces to the other. With curved-on-curved, we more frequently end up having to figure out exactly how we're going to transition from one curve to another, as well as which one is relevant when. So, in some cases, your intersections may have been a bit backwards, but these are by no means mistakes that worry me at this stage. It's pretty normal at this point for students to be fairly comfortable with flat-on-flat, but to still struggle with the more complex ones, and as far as that is concerned, you're still doing quite well. This will be assigned one last time in Lesson 7, so we'll be able to look at it again at that point as well.

There is one last thing I wanted to mention before moving on - make sure that when you're building a form along a minor axis, that your ellipse sits completely on the given minor axis line, rather than centering it around the end. It simply gives us more penetration of that minor axis line, which can help a fair bit.

Continuing onto the object constructions here, you're attention to precision is unparalleled, and the sheer amount of time you've poured into it all certainly made that somewhat inevitable. There are some cases where you did take things a little too far, or rather applied concepts beyond how I'd necessarily push for them to be leveraged here, but as a whole you have really done a fantastic job.

For example, with your marker study (with the two caps pulled off) - specifically in the way in which you've done several separate, independent pieces as part of one whole construction. As soon as they are separated, they really cease to be part of the same object, and so your construction here should have been limited to just the marker, or one of its caps. In a sense, this is similar to opting to plot everything back to explicit vanishing points (like the plotted perspective exercise from Lesson 1), rather than something more organic where the objects are positioned based on our instinctual understanding of 3D space. That's not to say it's an incorrect approach - just outside of the scope of this course, and prioritizing things we purposely set aside here.

Another point worth calling out is how you handled the curves in object 4 (I can't quite read what it specifically is). As explained here in the lesson notes, it's important that we start our curving structures out as flat, boxy structures where each curve is first established more specifically as a chain of straight edges. From there, we can individually round out the different corners to create a more specific curve. Now I can't say for certain that this isn't what you'd done - but the end result, where you've traced back over the marks with a thicker pen (which as you noted yourself is contrary to the instructions), obfuscates whether or not that's the case. That does in a lot of ways emphasize why tracing back over those marks is not permitted - it can have a tendency to overly "smooth out" a construction, diminishing some of the elements that clearly depict how the student applied their thinking in 3D space.

Aside from that, you have done an excellent job, and I have no doubts that you're going to knock Lesson 7 out of the park. Just... try not to kill yourself doing it. I know it's on your nature to "go hard", and having seen you talk about what you were doing in the patreon chat (and the fact that you were talking about plenty of other more relaxing art projects) I wasn't terribly worried that you were pushing yourself beyond your limits, but looking at the work alone, I feel like I have cause to worry a little.

Anyway, before we worry about that, the 25 wheel challenge awaits. I'll go ahead and mark this one as complete.