Nice work overall. I think you demonstrated a good deal of growth and improvement over the first 200 or so, where you gradually shifted your focus more to how your lines would converge in sets of 4 (instead of having lines converge in pairs, or three together with one flying off). It seemed throughout these first couple hundred you were very well focused on your vanishing points, and keeping them grouped in fours.
Your last 50 however definitely seemed to get a bit lazy - maybe you got burnt out and tired from the exercise, perhaps you were trying to get it all done too quickly and move on, and maybe you weren't doing as much drawing outside of Drawabox (the whole drawing for fun thing) to be able to dedicate your full focus with each line when doing this exercise. Whatever the cause, I think in these last 50 you're slipping back into patterns of having lines converge in pairs (where you're thinking too much about the lines that share a plane, rather than trying to keep all four converging together). Also, your very last box seems to eliminate vanishing points altogether, trying to keep all three sets of four lines actually parallel on the page (in 2D space). Even when our vanishing points are super far away, we still need to be aware of the fact that they are going to be converging, if slowly.
Overall you did well, so I think it's worth overlooking that last 50 and judging you based on the first 200.
Next Steps:
Move onto lesson 2.
Just so you know, you will probably need to submit lesson 1 and get it approved on here in order to submit lesson 2 (I'm not totally sure how the prerequisite submission thing works) but if you let me know then I'll submit a filler comment to get the approvals needed for a badge!
I'd been drawing as a hobby for a solid 10 years at least before I finally had the concept of composition explained to me by a friend.
Unlike the spatial reasoning we delve into here, where it's all about understanding the relationships between things in three dimensions, composition is all about understanding what you're drawing as it exists in two dimensions. It's about the silhouettes that are used to represent objects, without concern for what those objects are. It's all just shapes, how those shapes balance against one another, and how their arrangement encourages the viewer's eye to follow a specific path. When it comes to illustration, composition is extremely important, and coming to understand it fundamentally changed how I approached my own work.
Marcos Mateu-Mestre's Framed Ink is among the best books out there on explaining composition, and how to think through the way in which you lay out your work.
Illustration is, at its core, storytelling, and understanding composition will arm you with the tools you'll need to tell stories that occur across a span of time, within the confines of a single frame.
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