Starting with your form intersections, your work is generally well done, but there are a few little hiccups, and your linework isn't entirely following the principles of the course. Try not to reflexively correct mistakes, or reinforce lines, as it speaks to actions taken without conscious decisions preceding them (which is a major part of the ghosting method).

As to the hiccups, I marked them out here. Most are pretty normal, but the big ones that stood out to me were where you treated the flat end of cylinders as being curved. This suggests to me that you're thinking more in terms of intersections between forms (thus a curved form, a flat form, etc.) but such things don't exist. You've got forms that may be entirely composed of curved surfaces (like a sphere), forms entirely composed of flat surfaces (like a box or a pyramid), but you've also got forms that combine the two like cylinders and cones. It's important to always pay attention to both the specific nature of the two surfaces involved at any given point in an intersection (a single intersection may be a chain of multiple pairs of intersecting surfaces, but at any given point there's going to be one pair to focus on) when deciding how the intersection itself should function.

Oh, last point on that - I find it's better with this exercise not to "draw through" your intersections, and instead to focus on the part that's visible. While it makes the exercise a little less harrowing, it's more about ensuring that our mental resources are being leveraged most effectively. If we draw through all our intersections but end up overcomplicating the problem such that we have a harder time wrapping our heads around the relationships between those forms, then that's a loss rather than a gain.

Continuing onto your cylinders in boxes, your work here is solid, but don't forget to extend the minor axis lines all the way back with the others, as shown in the instructions. Here it seems like you're mixing up the two exercises from the cylinder challenge, which makes it less easy to get a clear idea of whether or not those minor axes are converging with the boxes' edges as they should be.

As to the rest of the lesson, you've done a fantastic job. You're making excellent use of orthographic plans to analyze your structure and make all your decisions, and have demonstrated a great deal of patience and care in applying them to each and every three dimensional construction. I really have no complaints - and honestly I have a ton of work to get done to get the new round of updates done, so I'll jump straight to the one admittedly minor point I wanted to call out.

For the drawings we do in this course, our use of filled areas of solid black are really quite limited. It's really about the course itself and ensuring that everything students are doing comes back to the core focus on spatial reasoning, but basically we want to limit them to being used to capture cast shadows only. So, in cases where you've got, say, surfaces that are coloured black (like on your 07_07Vehicle1.jpg with the black strip that wraps around it, or where you've got spaces that are perhaps recessed (like above 07_14Vehicle8.jpg's bumper), you may want to convey the darkness you see in your reference image - but for our purposes here, leave it out. Instead, always focus on those filled areas being designed as shapes, and having the design of those shapes reflect the relationships between the form casting it and the surface receiving it. So for example, the tail fins on 07_09Vehicle3.jpg (the fighter jet) are leveraging it correctly.

Filling in the surfaces on the interior is fine - one could argue that's an inconsistency, but my poor argument back is that the external structure is casting shadows inside of it. In truth though, it's just a nice way to separate the interior from the exterior, but still best to avoid that sort of thing for other drawings done in this course.

Which I imagine you won't be doing, because you're done! I'll go ahead and mark this lesson, and the course as a whole, as complete. Congratulations!