Let's start off with your superimposed lines. You're doing a good job lining your pen up with the starting point in order to reduce fraying. One thing that is quite evident here though is that you're focusing quite a bit on accuracy and as a result, drawing more slowly and allowing your brain to control the movement. When we draw lines confidently, this doesn't necessarily mean we draw them fast (though this can be useful for beginners), we're telling our muscles what we want them to do and letting them take control.

Next, your ghosted lines are showing some signs of arcing but are generally more confident than your superimposed lines. However, you seem to have lost some of this confidence in your planes, instead beginning to wobble throughout the line, or more often, wobbling as you get to the end of the line. This indicates to me that you're still prioritising accuracy here, and allowing your brain to take control as you approach your endpoint. The purpose of ghosting is to familiarise your muscles with the movement that you make, so that when you do it for real, you can do so without really thinking about it. It's gonna be inaccurate at first but this gets better as you do more of it and build the muscle memory you need.

I can see a similar thing occurring with your tables ellipses and this is hardly surprising. It feels really weird to try and draw ellipses for the first time, so make sure you're ghosting out the motion and executing with confidence. That said, your ellipses in planes are a definite improvement in terms of the confidence and shape of your ellipses. I can see you've aimed to hit the four sides of the plane even if you didn't always quite make it and instead of allowing your brain to course correct this, you've kept going, resulting in a far more confident line.

Your funnels fall a bit back into the line work we saw in the tables of ellipses and I suspect with the smaller ellipses you're either letting yourself fall back to drawing from the wrist or drawing far more slowly than you do with those larger ellipses. Whichever the case, your alignment here is okay in some places but very loose and misaligned in others. It is worthwhile practicing funnels in your warm-ups as being able to align an ellipse to a minor axis is particularly important for drawing organic forms and cylinders and this crops up again as early as lesson 2.

A quick note on your plotted perspective - this exercise is to be done with a ruler so you had the option of using that for your hatching lines. Failing that, if you were just looking to get some mileage, make sure that you're taking the time and planning out each one as this will give you a fair cleaner and confident result.

Next, your rough perspective is showing good signs of keeping your horizontals parallel and verticals perpendicular to the horizon line. Your line confidence again suffered here, which is something we see a lot when students first encounter the box exercises - we recommend you take the time to plan and confidently execute each and every line as though they were their own individual exercise. Feel free to lay down non-committal dots in order to work out where your lines should go. Similarly, when applying line weight, this should be executed with confidence - remember that even if it is inaccurate, it will still do its job of clarifying overlaps and you'll get the added bonus of clean, confident linework. Overall though, your estimation of perspective on this exercise is quite good!

You've done a good job keeping the gaps fairly consistent on your rotated boxes. The weight of your lines and the hatching here is pretty overwhelming, so try to be subtle with these when you tackle them in the 250 box challenge. You've managed to cover a fair degree of rotation on the boxes, which is awesome since we assign this exercise to students to introduce them to a new kind of spatial problem rather than expecting students to achieve any amount of rotation.

Finally, you're off to a good start with your organic perspective. I would've liked to have seen a few more boxes in the frames and a bit more variation in size to convey a greater sense of depth in the scenes. Again, line confidence is a real problem here and it feels like you need to take a step back and remember what the ghosted lines exercise taught you. You have achieved a wide range of novel rotations and shapes of your boxes however which is good to see and will put you in good stead for the box challenge.