Starting with your form intersections, I can see a number of examples suggesting that your understanding of the relationships between these forms is coming along, although there is still lots of room for continued growth and improvement. That is largely expected - my intent is largely to introduce the exercise in Lesson 2 so students can get some experience with thinking through these spatial problems, ultimately laying down the groundwork so the given student is in a better position to understand the information I have to offer now.

Before I get to that however, I do want to point out that your intersections are more successful in some pages, and less successful in others. For example, this page is considerably stronger than this one. In the former, you appear to be more confident in how you're thinking through the intersections, and you handle more complex ones a lot better, whereas in the latter case you seem to be largely uncertain of what you're trying to do, and put marks down without as much thought. While this can be a matter of you warming up over the course of a session, it can also suggest that you may not have been thinking as much about how you were tackling things in one case, and may have been more prone to putting whatever marks down, and that you were more focused/attentive to what you were doing in another.

I have made some corrections on this page, but this diagram should help you in better understanding how to deal with intersections involving curved surfaces. The most important thing to keep in mind is that intersections occur between surfaces - so it's not a matter of a form being curved or flat, but rather that a given form may have many surfaces, some of which may be flat, some of which may be curved. Thinking about each individual intersection of surfaces/faces, and then considering how to stitch them together at the edges at which those surfaces meet, can help us get a better sense of how to approach this kind of exercise.

As a side note, I do want to stress the importance of using the ghosting method in its entirety (meaning, going through the planning, preparation, and execution phases as explained here in Lesson 1) is required for all our freehanded linework throughout this course. I can see here that you have not been applying this consistently in your linework, and as a result there is at times more hesitation and wobbling that keeps your lines from being completely straight, and that keeps your ellipses from being as smooth and evenly shaped as they could be.

Continuing onto your object constructions, there are two issues that jumped out at me early on:

• In the instructions here, I state that you should not be switching to a thicker pen to do a "clean-up" pass, where you go back over your lines to separate the object from the construction. That appears to be exactly what you did through the majority of your constructions here, suggesting that you were not as careful in following the instructions as you could have been.

• There were a few constructions like this one where you seemed to build your 3D objects off a flat, two dimensional rectangle as your starting point, rather than a box. This of course is incorrect because it sidesteps all of the considerations of perspective - even if you were starting with a box aligned to the viewer's angle of sight such that it were in one point perspective, you'd still have convergences on the lines going off into the distance. We can also see this issue here where you started with a rectangle, but attempted to draw a 3D object inside of it.

• As an extension of the previous issue, cases like this one do consider the different dimensions of the box structure, although you're still neglecting any convergence whatsoever, drawing more in isometric projection rather than perspective projection. I cannot help but feel that in both of these issues, you're trying to simplify the problem by eliminating perspective's considerations altogether, which would very much be going against everything else covered in this course.

• Another concern I had was that you appear to be somewhat inconsistent in using the tools at your disposal. I can see many cases where you use a ruler, which as mentioned in the instructions is highly recommended - but there are many cases even at times within the same construction where you go in and draw straight lines freehand, instead of using the ruler. For example, here. In the section where I state that rulers are allowed, I explain the reasoning for this - it's to reduce the number of things you have to worry about at one time. Freehanding linework has its own difficulties, and I do not want students to allocate their mental resources to that, instead of spending it all on the concepts relating to this specific lesson, if there is a tool that can help eliminate that need.

• As an extension of that previous point, this one shows a case where you didn't use a ruler. While I can understand that you may have done this when you didn't have a ruler on hand. I would generally recommend in such a situation to simply wait until you're back at your usual workspace, but if for whatever reason that was not an option, there is a bigger issue present here: the manner in which you've approached the linework for this completely ignores all of the principles of markmaking from Lesson 1, and does not make any use of the ghosting method.

• One last point when it comes to rulers - there's an additional way in which rulers can be extremely useful in this lesson, aside from simply making straight lines. A ruler gives us a visual extension of the line we wish to draw, before we ever commit to drawing it. Meaning, if you're drawing your initial bounding box for a construction, you can use the ruler to judge how the line you're about to draw will converge with the other lines already present. This can help immensely when it comes to judging your convergences and keeping them consistent. That does however require us to be thinking about those convergences - given your tendency to force your lines to be parallel on the page, and eliminate those convergences altogether, this may not have been the case for you.

Now, I have laid out a number of ways in which your submission has unfortunately fallen well short of the responsibilities laid out here in Lesson 0. In other words, you can do much better than this, and I do not feel you took the appropriate care to ensure that you were following the instructions for this lesson, and adhering to the principles of the course as a whole. I do understand that you're moving through this course slowly but steadily, and that this may put you in a position to forget concepts introduced earlier in this course. I certainly have nothing against students working through it slowly - people have lives, and can be quite busy, and I welcome people to work through the material at their own pace. That does not however change the requirement that each student is responsible for using whatever strategies - be it note taking, periodic reviewing of past lesson material and critiques you've received, etc. - to ensure that you are moving forward on a firm basis. It may be tempting to simply charge forwards, but unfortunately that will result in significant revisions, and even full redos.

Unfortunately that is what the situation calls for here. I will be requiring you to do Lesson 6 over in its entirety.

Before I leave you to that, I wanted to provide this additional demonstration to help explain how you might leverage the concept explained here in these notes regarding handling curves to constructions like this one and this one.

Additionally, when working through this lesson again, I strongly encourage you to avoid skipping steps as much as possible - even if some steps may seem small and inconsequential, this lesson focuses heavily on the concept of "precision" where all of the work is done ahead of time, in identifying the specific decisions and the individual little steps to get there (we see this primarily in the heavy application of subdivision, to generally avoid guessing/approximating things). These constructions are very time consuming as a result, so you should not shy away from investing as much time as you need to do this work to the best of your current ability. After all, the only way for my critiques to be useful is if you're already pushing yourself to your limit, regardless of how long that takes.