Yeah, imgur's 18+ detector's been kind of wacky lately, although I didn't get the warning myself when viewing your album so maybe they've fixed something.
Starting with your cylinders around arbitrary minor axes, all in all you're doing quite well, but there are two key points for you to keep in mind going forward:
Firstly, make sure that when you're freehanding anything in this course, that you're actually applying the principles of the ghosting method by breaking the process into those three distinct steps of planning, preparation, and execution (the purpose of which you can review here. It's pretty common for students to get a little too relaxed with their linework to the point that they stop breaking the process into distinct stages - which can result in either trying to do too much in the execution step (which results in hesitation/wobbling/wavering, often manifesting in subtle ways rather than being really obvious) or in maintaining that confident execution but without thinking everything through, resulting in repeated strokes. In your case you're more towards the former situation, with some cases of very subtle wobbling, arcing, wavering, etc. amongst many other smooth, confident strokes. The key thing to remember is that we do all the boring, tedious stuff in this course so that your brain can be appropriately rewired to handle much of it more automatically when drawing your own stuff - but of course, if we train our instincts by using our instincts here, we really only end up with a mess.
When applying foreshortening to your cylinders, ensure that the two ways in which that foreshortening manifests on the page (the shift in scale from one end to the other, and the shift in degree) operate in tandem. Avoid cases where you've got a more dramatic shift in scale matched with a more subtle shift in degree, like what we can see in numbers 133 and 134 on this page. 136 is a good example of the major convergence and the resulting smaller far end being matched with a considerably wider degree.
While your cylinders around arbitrary minor axes were still by and large well done, unfortuantely there are some pretty considerable issue with how the cylinders in boxes were approached:
You appear to fairly frequently end up extending lines in the wrong direction, having them extend out towards the viewer, rather than away from them. This page has a number of examples (91's green lines are extended incorrectly, and 92 and 93's blue lines are as well). Extending your lines correctly is explained here in the box challenge material with a simplified approach to guarantee you're extending them correctly based on the Y below it. This problem does not appear to have been present in your box challenge, but if you neglected to continue practicing that exercise in your regular warmup routine, it would be fairly easy to forget. If you are neglecting your warmups, that is definitely something you will need to rectify sooner rather than later, although if that is the case, it would be quite unfortunate given the mileage left on the table up until this point.
You're frequently leaning on boxes that have very little foreshortening, as though the vanishing points themselves are being forced to infinity. This issue (specifically the forcing of vanishing points to be at infinity regardless of how the form in question is oriented) is explained here in these notes]. Now, as long as your intent wasn't to keep the lines parallel on the page, and you did intend to have them converge, then that's okay (although I would recommend pushing that rate of convergence a bit harder), but you definitely want to be intentional on having your edges drawn such that they're converging. Not doing so can cause further issues with the line extensions. Additionally, aside from it being incorrect to try and force those lines to be parallel on the page, it can also make it very easy to end up with lines that diverge as they move away from the viewer, which can throw a great deal out of whack.
Unfortunately I will need you to redo the cylinders in boxes, as the issues outlined here will have made the exercise considerably less impactful.
Next Steps:
Please submit an additional 100 cylinders in boxes, being sure to consciously push your parallel edges to converge when drawn on the flat page, and ensuring that your lines are extended away from the viewer.
Thank you for the review, these are my additional boxes.
As a whole you're doing a much better job of following the instructions for this section of the challenge, so I will be marking the challenge as complete. That said, there is one critical issue that I want to call out to you so you can work to address it going forward.
Setting the cylinders aside and focusing on the boxes themselves, you appear to focus heavily on the convergence of one set of lines (those lengthwise to the cylinder, so the ones you usually marked out in red). The lines you'd extend in blue and green however show a strong tendency to pay less attention to whether or not they're converging consistently - or converging at all. Many of these end up diverging instead, which causes the box to look off, and likely made the exercise from the challenge more difficult.
This is something that is generally addressed through the continued practice of the box challenge's freely rotated boxes as part of our warmup routine - so do be sure to focus on them in particular in your warmup (especially if you haven't been including them). In addition to this, I'd recommend that you go through the material on the 250 box challenge page, as they were updated recently and you may find the strategies shared there to help with this specific issue. In addition to this, we also added a video explaining how to approach the Y method to Lesson 1's organic perspective exercise, which you'll find here.
Next Steps:
Review the box challenge material and work on getting the convergences of those other two sets of edges to be more consistent (most of all we don't want them to be diverging) - then move onto Lesson 6, once you're more comfortable with constructing your boxes.
Right from when students hit the 50% rule early on in Lesson 0, they ask the same question - "What am I supposed to draw?"
It's not magic. We're made to think that when someone just whips off interesting things to draw, that they're gifted in a way that we are not. The problem isn't that we don't have ideas - it's that the ideas we have are so vague, they feel like nothing at all. In this course, we're going to look at how we can explore, pursue, and develop those fuzzy notions into something more concrete.
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