Starting with the cylinders around arbitrary minor axes, you've done a good job of varying your rates of foreshortening throughout the set, and I can see that you've been pretty conscientious when it comes to checking the true alignment of each ellipse by marking in those minor axis lines. You've been attentive so as to catch both more obvious mistakes as well as those that can be more easily missed, which suggests that you're approaching this exercise in a way that will help you to avoid plateauing as you get into the range of being "close enough".

That said, when it comes to the linework itself - that is, the straight lines that make up your side edges and the ellipses that make up the ends of these structures, your work pretty strongly suggests that you may not be applying the ghosting method as thoroughly as you could be. I say this for a couple reasons - firstly, while your side edges are at times quite straight and smooth, there are plenty of instances where they are more hesitant and shaky. Secondly, I'm not seeing the usual signs of the planning phase, where for a line with a clear start/end, we plot them out with little points. Thirdly, there are also spots (albeit not terribly often) where you go redraw lines multiple times as we see here, rather than sticking to the process of making one mark per line. Overall this gives me the impression that you may not be holding to the ghosting line, which as discussed here is required for every mark you freehand throughout this course.

The ghosting method isn't just about physically ghosting through the motion - it is about breaking the markmaking process down into distinct steps, each with their own specific priorities, so that at each phase we can focus on a limited number of things. Planning first to identify the nature of the mark we wish to make and orient the page to a comfortable angle of approach. Preparation to get familiar with the motion required to make the mark. And finally execution, where we commit to the mark we've prepared, without hesitation or fear of making a mistake, as a matter of choice.

While not ghosting is a likely issue with your ellipses as well, I'm suspecting that you may also not be consistently engaging your whole arm from the shoulder, which can cause irregularities in the ellipses as you hit the limitations of the range of motion afforded by a pivot like the elbow, throwing off the evenness of the shape. All in all, the issues come back to core principles introduced in Lesson 1, which you'll want to take some time to review, and ensure that you are applying them consciously. Much of the value that comes from this course comes from being very intentional in applying the concepts and methodologies we've introduced - this is how we push those considerations down into our subconscious, effectively training our auto-pilot to be more reliable so we can use it more effectively when drawing outside of this course. If however we rely on the auto-pilot to get through this work, we're more likely to just drill the same sloppiness over and over, rather than training it away.

Continuing onto your cylinders in boxes, your work here is largely coming along well, and I am quite pleased to see that you're much more mindful of applying the ghosting method to your box constructions here. This exercise is really all about helping develop students' understanding of how to construct boxes which feature two opposite faces which are proportionally square, regardless of how the form is oriented in space. We do this not by memorizing every possible configuration, but rather by continuing to develop your subconscious understanding of space through repetition, and through analysis (by way of the line extensions).

Where the box challenge's line extensions helped to develop a stronger sense of how to achieve more consistent convergences in our lines, here we add three more lines for each ellipse: the minor axis, and the two contact point lines. In checking how far off these are from converging towards the box's own vanishing points, we can see how far off we were from having the ellipse represent a circle in 3D space, and in turn how far off we were from having the plane that encloses it from representing a square.

You've been consistent in applying the line extensions as intended, and so have been able to arm yourself with relevant information to help shift how you approach the proportions of your boxes from page to page. That said, right now you're not quite extending both minor axis lines all the way back with the boxes' edges, and are likely confusing it a bit with how we approach the minor axis lines in the previous section. Note that here, we want o be able to clearly compare our minor axis lines with the other lengthwise edges of the boxes, so they should all be extended back together, rather than having your minor axis lines stop early.

I'm going to go ahead and mark this lesson as complete, but do take more care in ensuring that you're applying the concepts and strategies from earlier in the course for every instance where they might be useful in achieving better linework, more solid forms, etc. and in general, avoid relying on your autopilot altogether, leaning instead into very conscious and intentional choices throughout.