Starting with your form intersections, it seems you're showing a fair bit of progress, primarily with your flat-on-flat intersections (like boxes on boxes, though this also includes the intersections between the flat parts of other forms as well), but it does seem you're still having some difficulty navigating the intersections involving forms with rounded surfaces. I've marked out some corrections here - the corrections are in red, but I've also included some little arrows in blue that denote the flow of different surfaces within the same forms, as this is quite important.

When navigating the way in which intersections occur, it helps to break down the different surfaces that are actually interacting with one another. A cylinder, for example, may be treated as a curved surface when interacted with in one direction, but if you look at its trajectory along its length, it's actually flat (as shown with the straight blue arrows on the cylinders). This means that the intersection itself is also going to be a straight line, at least where the cylinders are running alongside one another.

These directions I've marked out in the blue arrows are like the pieces that will ultimately be fitted together to determine the actual intersection/seam between the forms. So for the sphere-pyramid, we have the pyramid's base, and a specific slice/cross-section of the sphere. The cross-section we choose is the one that's going to line up with the pyramid's base. So once again, we take a piece of that specific curve, then combine it with straight lines from the pyramid.

For the cone-cylinder intersection up at the top, it gets a little funky, with a round-on-round intersection. Here we don't have any straight edges to provide us with a sharp corner (which is demonstrated in the lower right with the pyramid-box intersection), but we still transition from one curve to the other, creating a sort of S curve.

Anyway, intersections with rounded surfaces are definitely the more complicated one, and it's normal to still have some difficulty with them at this point in the course. I am however pleased to see that for the most part your flat intersections are coming along well.

Continuing onto your object constructions, I think that overall you're showing pretty good progress over the set, but there are definitely some things I want to call out to help you continue getting the most out of these exercises.

What this lesson really focuses on and introduces for the first time is the concept of 'precision'. Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.

So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.

In our constructions here, we build up precision primarily through the use of the subdivisions. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study, then apply those same proportions to the object in three dimensions.

Now you are making good headway with adding precision to your constructions, but there are definitely cases where you rely more on estimation than you could. For example, if we look at this mug, right off the bat you're relying quite heavily on curves. As explained here in the lesson notes, we explain that for any irregular curves (ie: if it's not a circle in 3D space, it's got some irregularity to it and can't easily be represented with a primitive structure), it should first start out with straight edges and flat surfaces, only rounding them out towards the end. Here's an example of how we can approach constructing a mug - while the body for that one was just a simple cylinder, look in particular at how many more steps are put into the handle.

It is fair to say that you handle this much better in other areas. This one for example handles rounded edges and corners in a very structured manner, first pinning things down with straight lines, then adding the curves onto that existing structure instead of jumping right into them. You also use subdivision much more extensively here, placing elements down with more specificity and clearer intent. Your drawings tend to jump around between these two ends, though the mug is definitely the one where you skipped the most steps.

The vacuum is a good example of somewhat mixed results. You're using a lot of subdivision, but there are also areas where you jump too quickly into curves (like here and here) without enough supporting structure. These overall body curves are drawn well, but it's not the end result that matters in the context of this course - it's how you get there.

The last thing I wanted to call out was the way in which you've used both line weight and areas of filled black. When it comes to line weight, I did call out in the tools section that you should not be going back over your drawing to separate it out from the construction/scaffolding. Given our limited toolset here (working strictly in rich black and white), line weight itself is best used in a more limited fashion to help clarify how different forms overlap one another (and by limiting its use to the specific localized areas where those overlaps occur, as shown here with these two overlapping leaves).

Fortunately you didn't use line weight in that fashion in all your drawings, but a prominent example would be the vacuum cleaner. Conversely, this smart plug where you've stuck to the same pen is looking great in this regard.

Similarly, given that we don't actually have the means to capture any local/surface colour (for example where something might be red, or yellow, or lighter, or darker), it's more effective to reserve our areas of filled black towards a singular purpose - cast shadows are generally best (again given this situation, not as a general rule) because when presented with drawings like this, the viewer will generally assume that any filled area of solid black is meant to be a cast shadow. It'll take them a few nanoseconds to realize it doesn't make sense to be interpreted that way, and then will figure out what it's meant to represent - but we want to minimize how much time they spend thinking between seeing the drawing and understanding everything it depicts.

So, for other drawings you do for this course, treat the objects like they're white in colour and ignore that local colour entirely. Also, make sure that when you do fill areas with black, that they are actually shadows being cast by the forms that are present, and not just filling in the side planes of those forms or other existing shapes. Cast shadows are their own separate shape that are designed in order to convey the relationship between the form casting the shadow, and the surface receiving it. If you catch yourself just filling in an existing area, then take a moment to think about exactly what you're drawing.

I've called out a number of things for you to keep in mind and work at, but all in all you are doing quite well and there are a lot of really great displays of precision throughout this set. So, I'll go ahead and mark this lesson as complete. Lesson 7 will be basically more of this, but on steroids, but as long as you approach it with patience, give yourself tons of time, and spread the work across as many sessions as you need so you can give each step its due, you should do okay.

But of course, we're not quite there yet. I'll go ahead and mark this lesson as complete.
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