Welcome to drawabox, and a big congrats on getting past the first hurdle. Let’s see how you did!

Starting off, your superimposed lines look mostly good. They’re smooth, and properly lined up at the start, but you’ll sometimes alter their trajectory, so be mindful of that. Though they’re mostly confident, there’s a similar issue in your ghosted lines/planes: you’ll course-correct near the end. Rather than stress about whether you’re going to hit, or stop at, the end point, simply focus on the confidence of your line. That’s, after all, more important than accuracy, which will come in time, anyway.

The table of ellipses exercise looks good, if a little hard to judge, based on how much you’ve drawn through your ellipses. Remember that the recommendation is 2-3 times (and ideally, you’d stick to 2). Still, your ellipses seem smooth, and rounded, and there’s quite a lot of variety to them. The ellipses in planes look mostly good. Though they often succeed at maintaining their roundness, they’ll sometimes fall prey to the idea that they need to fill the entirely of the frame, and deform in an effort to do so. Fight that urge. The funnels look solid, though all but one are missing their major axes.

Moving on to the box section, the plotted perspective looks good.

The rough perspective exercise, too, starts off strong (I think… the pages are out of order :P), and improves nicely throughout the set. Your convergences look solid, as does your linework, but I will call your attention to your automatic reinforcing habit – that is to say, your habit of ‘correcting’ an incorrect line by redrawing it. That’s not something we encourage. We encourage forethought, and planning, and living with your mistakes.

The rotated boxes exercise looks good, if hella stretchy. That’s perfectly fine, of course. Most of what we’re looking for is an attempt that has been seen through to the end, and has made an effort to have the boxes be snug, and properly rotating. (Yours has!)

Finally, the organic perspective exercise looks good. The ‘correcting an incorrect line’ thing is especially an issue here, because thick lines tend to draw our attention, which is something we don’t want the boxes in the back to do (lest that contradicts what their size is saying about their position in the composition), but that’s alright. The boxes manage to flow well despite it, as a result of their size, and foreshortening.