Your work here is really well done. You've got a great start with how your super imposed lines focus entirely on maintaining a consistent trajectory for each stroke from the moment it touches the page. You carry this confidence into your ghosted lines as well, reinforcing them with the control of the ghosting method to achieve both smooth, concise lines that come very close to hitting their mark. You continue pushing this further with your ghosted planes as well.

While your lines are coming out great, I figured I'd point out one piece of advice I often offer to students - though usually these students show some small sign of wavering or wobbling. Still, it can't hurt. Basically, if you struggle with overshooting or undershooting, one thing that can help is to lift your pen off the page instead of attempting to slow to a stop as you reach the end point. Lifting the pen is something we can do much more quickly and reliably, and it avoids some of the downfalls of slowing down (like the wobbling that can occur when doing so).

Moving onto your ellipses, you're doing a great job of keeping your ellipses tight, confident, evenly shaped, and accurately placed within their allotted spaces. As you continue to move forwards, I'd recommend going down to drawing through them just two full turns, so as to keep tightening them up and avoiding situations where they end up spilling outside of their bounds. Your issues with this are pretty limited of course, but they are present on occasion.

For your funnels, you're doing a pretty good job of keeping your ellipses aligned to the central minor axis (or, as is in many cases, where that center line ought to be between the edges of the funnel, since often times the line ends up slightly misplaced). As far as that is concerned, you may want to try drawing the line after the curves of the funnel, as it's easier to put a straight line in the right spot, than it is to base curving lines around it.

Skipping on down to the rough perspective boxes, you're keeping your horizontals parallel to the horizon, your verticals perpendicular to the horizon line, and I'm very pleased to see that you're applying those line extensions to identify where your estimation of perspective drifts. All in all, your margin of error here is actually very tight. Most students encounter lines that fly way off, so that's something to be proud of.

With the rotated boxes, you've done ap retty good job here as well, though I think keeping the gaps between the boxes a little narrower and a little more consistent would help with further eliminating any need for unnecessary guesswork. You are keeping them fairly narrow and fairly consistent, but there are some places where the gaps part more than they should. It's worth mentioning that while you do definitely have some rotation going on, keep your eye on situations where lines of different boxes may converge towards roughly the same vanishing point. As shown here, this can show that your boxes aren't rotating relative to their neighbours, which is the case for certain neighbours here, though not all of them.

Lastly, your work on the organic perspective boxes is very solid. It marks an excellent introduction to the idea of boxes being rotated freely relative to one another, and I'm very pleased to see how consistently you adhere to the use of the ghosting method throughout. Now, as is expected, there is still room for improvement in getting your sets of parallel lines to converge more consistently towards their shared vanishing points, but you've come far enough along that it's actually difficult to tell with the naked eye.

As we move onto the 250 box challenge next, you'll be introduced to a technique to help identify these discrepancies more easily, so you can continue improving where it is more difficult to identify mistakes.

So! You've done some excellent work here. I'll happily mark this as complete, so keep up the great work.