Hey there edamame, I'll be your TA today so let's get started. Don't worry about the double post: if you really want to get rid of the extra one you can ask Uncomfortable on Discord to delete it and he will.

Starting with your superimpose lines I am liking the smooth confident strokes you are making. Even though you have some fray and in the longer ones you lines remain confident and smooth resulting from proper use of the shoulder. Your ghosted lines are looking really nice.They are crisp, starting on the point you decide to start on, and your accuracy is pretty much there.

Moving on to your ellipse exercises, things start off a little dicey but you quickly get the hang of things. With your ellipses in planes you are about half and half when it comes to hitting the proper points on the edges to firmly root your ellipses in space. When you draw through in this section it gets a little much at times, but in later exercises you are mostly drawing through an appropriate number of times. Moving on to your tables exercise, while things are still a little messy with the drawing through and the passes not being as tight as I could be, you are definitely on the right track. They are all firmly connected to one another, properly anchoring them in space and leaving no room for ambiguity. Your funnel exercises are where you really start to shine: your minor axes are aligned to the funnel axis and your draw throughs are much cleaner. Good job!

Now let's take a look at your rough perspective. You are doing a pretty good job keeping your horizontal lines parallel to the horizon and your verticals perpendicular. There is a little bit of skew going on but that's all within acceptable margin of error. The biggest thing I want to point out here is that you re-draw some of your lines. A big reason we work in ink is to force us to be very mindful of each mark we make and prepare accordingly. When we make a mark in ink we have to be ready to live with the results. When you re-draw a line to try and hide or fix a mistake you are almost always just bringing more attention to what you were trying to hide. So keep that in mind in the future. Your converging lines are on the right track and as you continue to practice your accuracy will improve.

Now let's get to the rotated boxes. As I'm sure you felt deep within your soul this exercise is extremely hard. We don't expect students to fully understand this exercise at this point; the analogy uncomfortable likes to use is that we are quickly throwing students into the deep end just to show them what things are like. Our only expectation is for the student to try their best and to finish it to the best of their abilities which you did, so good job! I will now run through the important concepts to facilitate a better understanding of the key takeaways here.

Adjacency - Your adjacent lines are pretty far apart so you can't properly utilize them as perspective guides. This is a really useful technique so make sure you're understanding it and can properly leverage it. This would have been especially helpful for you in those tricky corner boxes.

Rotation - Your boxes are not rotating, but rather skewing and shifting over, so give this gif some more attention and try to internalize how the rotation is driven by the vanishing points moving along the horizon. To your credit, you actually did a pretty good job rotating the boxes along the right horizon line!

Scale - You have some more room on the page you could have utilized. A good rule of thumb is to draw as large as you can so that your brain has the most room to work through these spatial problems. It sounds kind of odd, but it really does work.

Finally let's take a look at your organic perspective. I like that you drew lots of boxes in each of your compositions and played around with scale. You could have afforded to shrink down more boxes to give a more distinct background and had larger boxes for a more distinct foreground. I also like to see that you are not afraid to overlap your forms as that is what causes the brain to perceive said forms as all being in a singular space. These two principles: overlapping forms and scaling your forms are key to selling the illusion of three-dimensional space on the page. Once again I want to remind you about what I said regarding drawing over your lines to try and fix them. Most of these “mistakes” would slide right past any casual viewer. Your perspective is showing some development but there are still a lot of cases of divergence (near planes being smaller than the far planes, opposite of reality). This isn't a big deal though since you're about to draw 250 boxes and that will surely help your sense of perspective.

And along that note I will be marking your lesson one as complete and sending you off to the box mines. Keep up the good work and we will see you next time.