Hello, and thanks for your submission! Let’s take it one exercise at a time.

Starting with your superimposed lines, these are very well done. Your work here shows a lot of confidence. It’s a bit hard to tell whether you’ve drawn eight lines per set because your pen pressure is so light, so be careful with that. Also, try not to draw too wildly — right now you seem a bit unconcerned with the length of each line, and many extend past their endpoints and taper off. While that’s fine for now, we ultimately want to be more deliberate about where our lines start and end. Still, at this stage, confidence matters most, and you’ve got that in spades. Moving on to your ghosted lines, these are well done, if a little short. Be careful not to pause too long over the starting point as you line up your pen, since that can cause a wobble at the beginning of the stroke. Keep your start and end points small, too — a perfect line should be able to swallow them both. Aside from the overshooting issue mentioned earlier, your ghosted planes are well executed. Your linework here is confident and quite accurate. I don’t see the same large start and endpoints on the non-diagonal center lines of the planes, so make sure you’re actually plotting points there. Every line needs start and end points, because every line should be drawn using the ghosting method.

Moving on to the ellipse section, your table of ellipses is not bad. Some of your ellipses come out a little pointy, which suggests your wrist might be getting involved — remember, everything should be drawn from the shoulder. Also, be sure to ghost each ellipse an appropriate number of times; some spacing issues suggest you might be rushing a bit. Finally, keep in mind that roundness matters more than accuracy. A smooth, rounded ellipse that overshoots its frame is preferable to one that fits perfectly but looks stiff. Your ellipses in planes are well done, though a bit less confident — this may simply be because they’re smaller, and smaller marks are harder on the shoulder. That’s why we often recommend drawing big. Nice work with your funnels as well. Your ellipses maintain their smoothness and are properly cut in half by their minor axes. It looks like you chose to keep their degrees consistent this time; next time, try increasing the degree as you move away from the center.

Your plotted perspective exercise starts the box section off nicely. Your boxes are correctly constructed, and their back lines are accurate. The rough perspective exercise shows great improvement throughout the set. I especially appreciate how your confidence increases as you go, and your boxes get bigger and bolder. The last frame is very strong — your boxes are large, your lines converge properly, and everything feels confident. You can push your convergences a little further, but for this stage, it’s very well done. Good attempt at the rotated boxes exercise. It’s missing four boxes by my count — the diagonal ones — and occasionally a box is missing a line or two, but overall, this is solid work. Your boxes are snug and rotate comfortably both in front and in back. Just be careful not to reuse lines between boxes; each edge must be drawn separately. I’d recommend drawing them plane by plane instead of completing one box at a time — this will help you see how each plane connects to its neighbors across the surface. We’ll explore this more in the 250 Box Challenge. Speaking of which, your organic perspective exercise looks great. Your foreshortening is a bit too dramatic, but it’s consistently applied, which makes it work. I’m also happy to see so many unused points on the page — that shows careful planning. As a result, your boxes are well constructed, and your compositions flow naturally thanks to the clear size increase and consistent foreshortening.