Hi, and welcome!

Starting with your superimposed lines, these could be better. They’re properly lined up at the start, but not always smooth, nor of a consistent trajectory. Provided you’re aiming for them to be smooth, then 2 things can be happening here. 1. You’re spending so long lining up your pen to the starting point, that you’re losing the rhythm that was built up from the previous attempt at that same line. 2. You’re drawing too slowly. Generally, I find people doing the opposite (drawing too fast), but the advice is the same. Spend some time experimenting with a bunch of different speeds, and look at the results. The one to go for, is the one that gives you the most accurate, though still confident, lines. This issue is present, and applies to, your ghosted lines, as well. Noticing the further decrease in quality in the ghosted planes, I’ll remind you of this part of that section. Try not to get overwhelmed- it’s just a collection of lines, that you tackle one at a time, when you’re ready. On that note, be sure not to commit to a line until you are. Continue ghosting until comfortable, then commit. Finally, I notice quite a bit of overshooting, here. Though this isn’t an issue yet, it is something we expect you to address, and seeing how it’s relatively unchanged even by the end of the submission, I’ll direct you to this section of lesson 1. If you’re already aiming for that, then, again, take a separate sheet of paper, and give it a shot there, without any further goals, so as to internalize the timing.

The table of ellipses exercise looks a lot worse than it is, because of the amount of times you’ve accidentally made contact with the paper during the ghosting stage. Try to be a little more confident. Once it’s time to lower your pen, do so with a single, smooth motion. Once it touches the page, you’ve committed. Your ellipses are smooth, and rounded, though you haven’t been too mindful of their degrees/angles, I notice. Remember that they need to be consistent in a frame. Speaking of, try to be a little more consistent regarding the number of rotations, too. 2-3 is the recommendation, and we recommend 2. This is regardless of how the ellipse turns out. Don’t add more if it’s not quite there yet, or stop short if you think it looks good. Finally, see if you can, similar to the ghosted lines, lift your pen off the page at the end of your rotations, rather than flick it off. It’ll get rid of those little tails at the end. Though they’ve been drawn through way too much, the ellipses in the ellipses in planes exercise look good. There’s the occasional wobbly/bumpy ellipse, so I’ll remind you that the goal here is for them to be smooth, and rounded, first and foremost, but that seems to be the exception, rather than the rule. The funnels look good, too. The ellipses are snug, and properly cut in half by the minor axis. Aligning them to it is the whole point of the exercise, however, so try not to draw any ‘outside’ of it.

The plotted perspective exercise looks good, though the hatching is a little sloppy. It’s done with a ruler, so there’s no excuse for it, really.

The rough perspective exercise starts off a little rough, and, I’m sorry to say, doesn’t show much improvement through the set. We’ll take it one step at a time, however. The first issue is, as mentioned, the line quality. Your lines here are wobbly, though there’s no reason for them to be any more so that the previous line section. As mentioned in the part I linked, it’s the same line, over and over- nothing complicated. The second issue is related to the convergences. The ones that head (are meant to head) to the vanishing point, specifically (the other 2 sets, that are meant to be parallel, are.) I think that might be tied to the issue, though. Perhaps you’re getting too caught up in what you think a box should look like (3 sets of 4 parallel lines), but boxes here don’t look like that, because one set is converging towards a vanishing point. Instead, you should be trusting the points that you plot after ghosting a line from each point in the front face to the VP, as absolute. For a small step by step: draw the front face, pick one of its points, ghost a line from it to the VP, and place a point in that path, then take another point of the front face, do the same, this time being careful that this point, and the old one, form a line that’s parallel/perpendicular to the horizon, repeat, repeat. Once you have them all down, take a step back, and check everything again. Once you’ve confirmed that there’s no errors, then commit to your points.

The rotated boxes exercise looks a lot better than you might thing. First things first, it’s big. Not only does this give your brain a lot of room to think, but it gives your shoulder a lot of room to move, too. As a result, your linework here is much better. The boxes have been drawn though, also, and their front faces do a good job of rotating. Their back faces less so, but this is expected. It is, perhaps, a little worse than that, but this is because your boxes aren’t exactly snug, so you haven’t been able to make use of their neighboring edges. Nonetheless, you’ve seen the exercise through to the end, at the best of your ability, and, really, that’s all we’re looking for.

Finally, the organic perspective exercise is mostly good, save for 2 things. One is the line quality, but we’ve already addressed that. The other is the fact that your lines here haven’t been planned, it looks like. Rather than estimating their by plotting points down, it seems like you’ve simply extended them arbitrarily. This is incorrect. As mentioned in the ghosted lines exercise, the ghosting method is to be used on every single mark that you make from now on. Other than that, however, the exercise looks good. There’s a bunch of boxes, and a bunch of overlaps, and their increase in size, and consistent foreshortening do a good job of conveying the illusion of flow.