Since we got flooded with submissions at the beginning of the month, I'm jumping in to help the TAs with giving feedback to the earlier lessons in order to clear out some of our backlog. So, let's get started.

Starting with your lines section, you're doing an excellent job of focusing on maintaining a confident execution and a consistent trajectory with each stroke. Through the super imposed lines, you're not getting caught up in following things too accurately as some students do, and are instead prioritizing flow correctly. You then move onto the ghosted lines and planes exercises where you reinforce that confidence with proper preplanning, resulting in really strong accuracy whilst maintaining smooth, straight strokes. I usually offer this piece of advice to students, though I suspect you don't really need it - but one thing that can help keep those lines as straight as possible is to get used to picking up your pen off the page the moment you hit that end point, rather than slowing to a stop. Slowing to a stop can cause a slight wobble, whereas picking the pen up is a more immediate action, and therefore more reliable. Again - I'm not seeing that sort of wobbling in your lines at all, so it's more of something to just keep in mind.

Moving onto your ellipses, you're maintaining the same principles of a proper planning and preparation, followed by a confident, hesitation-free execution. As a result, your ellipses are smooth and consistent, and while they do have a slight tendency to spill ever so slightly outside of their allotted confines, your accuracy is still coming along pretty well. As you continue to move forwards, keep practicing to rein in those shapes to have them snug within their allotted spaces, and to keep tightening them up (while maintaining that confident stroke, of course).

Jumping down to your rough perspective boxes, you're doing a pretty good job overall, especially in terms of getting your horizontals to run parallel to the horizon line and your verticals to run perpendicular to it. I have the slightest feeling that your line quality, though still looking great, is a touch weaker than you demonstrated in the earlier line exercises. This is a pretty common issue where students will focus more on the box as a whole, and perhaps put a little less time into each individual mark than they would if the exercise itself was focused on the lines themselves. To this point, always remember that no matter whether your task is to draw a single line, or some complicated city scape, a line is always just a line. And so, it'll always require the same amount of attention and care.

With your rotated boxes, you've done a pretty good job of keeping the gaps between your boxes narrow and consistent so as to eliminate any unnecessary guesswork. I do think that the rotation of your boxes - specifically the outermost boxes relative to their immediate neighbours - could use some work however, as in most cases they're running roughly parallel to those neighbours. This issue is quite common, and is explained in these notes.

Lastly, you've got a great start with your organic perspective boxes. Being that this exercise is focused on getting students acquainted with the challenges of rotating boxes freely in 3D space, and that it's really just an introduction to that concept, there is still room for growth (specifically in getting your sets of parallel lines to converge more consistently towards their shared vanishing points), but you're actually doing a pretty solid job despite that. Regardless, I don't expect students to knock this one out of the park, and we will be continuing to explore this topic in our next step. One other thing to watch out for though are the little gaps you sometimes have when undershooting your lines - the tip about lifting your pen I offered earlier may help with this.

So! I'll go ahead and mark this lesson as complete. Keep up the great work.