Yup – thank you! I’ll be taking a look at them.

Starting with your superimposed lines, they’re looking solid. They’re smooth, properly lined up at the start, and of a consistent trajectory. Some arcing lines would’ve benefitted you, too, so it’s a shame you didn’t attempt any, but that’s alright. The ghosted lines/planes look confident, save for at the end. It seems like you’re slowing down, as you approach the end point, in an effort to not stop short of it/overshoot it. This is not necessary as, after all, what we’re most concerned with is not accuracy, but rather confidence. Try not to prioritize the former at the cost of the latter.

The table of ellipses exercise improves nicely throughout the set. Your ellipses are smooth, rounded, and properly drawn through, for the most part. I will request that you try a full range of degrees, however, rather than just the single one over and over. In regards to their rotations, be sure to go around them a full 2 times, and see if you can lift, not flick, your pen off the page at the end of your rotations. The ellipses in planes exercise looks nice – you’ve done a good job of maintaining your previous smoothness/roundness, despite these more complicated frames. For the funnels, spending a tiny bit longer on the ghosting stage might’ve helped; your ellipses are confident, but not always fully aligned to the minor axis.

The plotted perspective exercise looks clean, save for the hatching (you should’ve used a ruler for it).

The rough perspective exercise is not quite there yet. There’s an attempt to converge, it seems, but your brain is still trying to draw boxes as it thinks it should – i.e., with 3 sets of fully parallel lines. This is where the planning comes in, however, because a point on the page that boldly states ‘this is how this line should behave’ will take precedence over that instinct. It becomes important, then, to spend a lot of time planning these lines; not just sticking to the first guesses. Once you have a point down, check it, by ghosting the line to it, and beyond it, to the horizon, to see where it intersects it. If you’re not happy with it, absolutely alter it.

The rotated boxes exercise has a similar issue, though to a lesser extent. Though they’re at times a little wide, the near planes do a good job of rotating, here; it’s the far planes that are a little flat. We’ll go into that topic in detail in the box challenge, though, so no need to stress about it at this stage. For now, your boxes are snug, and do a good job of rotating. Your box is also big, and you’ve taken some time to apply some hatching lines to it, which is appreciated.

Finally, the organic perspective exercise looks great. Your boxes look solid, and their increase in size, and consistent, shallow foreshortening, do a good job of suggesting the illusion we’re after. Some lineweight would’ve certainly helped clarify some of these overlaps, but that’s optional, and the composition reads fine without it, so no worries.