Hello and welcome! Let me first congratulate you on the sheer amount of work present here- from a quick glance at your submission, I’m fairly impressed. Now, let’s look at it in a little more detail.

Starting off, your superimposed lines look good. They’re smooth, properly lined up at the start, and of a consistent trajectory. I like how ambitious you’ve been with their lengths, too. My only recommendation is to have the arcing ones be a little bigger, if you can. Small motions are quite difficult, especially for someone not quite familiar with the shoulder pivot, so I’d not recommend messing with them for a while yet. The ghosted lines/planes look good, though I notice the occasional course-correction, particularly near the ends of your lines. Try to be a little less conscious of the end points, if you can. It’s far more important for your lines to be straight, than it is for them to stop at the correct point.

The table of ellipses exercise looks solid, but I have a few things to point out. First, a pointy ellipse, and there’s a bunch of them here, is usually an indication of a lesser pivot (elbow/wrist), that a student is (likely unconsciously) switching to for the extra control it’ll grant them during some of these hard turns. It’s not something that we care for, however, so the recommendation is to constantly check back to make sure that each line is indeed originating from the shoulder. Over time, you won’t need to do this quite as often, but for now it’s important to. Second, spend a little more time ghosting each ellipse if you can, so that their second rotation can match their first a little more closely. Finally, be a little more mindful of their spacing- this, too, is decided on during the ghosting phase, so be sure to not move beyond it until 100% comfortable with the built-up motion. The ellipses in planes exercise looks good. Your ellipses maintain their smoothness/roundness, despite having to also touch all 4 sides of the plane (they do a good job of that, too.) If you can, I’d recommend sticking to 2 rotations, not 3, but it’s not a big deal regardless. Finally, the funnels exercise looks okay, though I’d have preferred fewer, bigger funnels. Outside of the aforementioned issues, and the occasional misalignment (spend a little longer ghosting each ellipse, rotating the page as necessary), the issues here are minor. Mainly, make sure that all ellipses have a goal (i.e. have a minor axis to be aligned to, and a frame to fit into- if there’s no more of either, either extend the existing one, or stop there); an ellipse without a goal is of no use for us.

The plotted perspective exercise looks great- nicely done. The rough perspective exercise starts off a little lacking, but improves considerably throughout the set. There’s still a few issues to address, though. First, spend a little longer planning your points, if you can. There’s, even in that last frame, a couple of lines that don’t seem to make an effort to converge. Be sure to check, and recheck each point, to make sure that it’s heading in the correct direction. Do this by ghosting it all the way to the horizon, and seeing where it intersects it. Anywhere but the VP = worth adjusting. Second, remember that, as per the instructions in the ghosted lines section, each line is drawn once, and only one, regardless of how it turns out. Automatic reinforcing is discouraged, because rather than correct a mistake, all it does it draw the viewer’s attention to it. Solid attempt at the rotated boxes exercise. It’s big, and it rotates nicely. I appreciate the addition of lineweight/hatching, too. Unfortunately, not all boxes have been drawn through, and as a result, you haven’t been able to make use of their shared vanishing points. For that same reason, the back faces of your boxes are a little flat, but this is the sort of thing that’ll improve as you get more and more familiar with perspective, so not to worry- we’ll be getting to that in a second. Finally, the organic perspective exercise looks nice. There’s the odd dramatic box (recall that dramatic foreshortening implies an object of a huge scale, or one that’s really close to us, and as such it has no place in this exercise), but outside of that, everything looks fine: the boxes follow the flow line, increasing in size as they do. I only notice one overlap, which is a bit of a shame, and the one that’s there also hides the boxes that it overlaps (incorrect), but that’s fine. The boxes themselves look quite good, too, though they’ll look even better once you’ve had a chance to focus on them. As I’m making this lesson as complete, feel free to do just that, in the 250 box challenge.