Alrighty! So all in all, you've done a pretty great job here.

Starting with your super imposed lines, you're doing an admirable job of focusing on executing your marks with confidence. There is certainly still some wobbling or wavering, but I can see that with the shorter lines you're clearly trying to maintain a consistent trajectory and keeping your eyes/brain from steering the stroke as you make it, and it's simply harder to do that with longer lines. It'll come with practice, but all in all you're headed in the right direction here.

You're continuing along that pattern when applying the ghosting technique to your markmaking - I do see a touch of hesitation that causes some of your lines to wobble a little, so always remember that the moment your pen touches the page, any opportunity to avoid a mistake or missing the mark has passed, so all you can do is push through with confidence. That said, overall it looks to me like you're doing a good job of applying the planning and preparation phases effectively.

This carries over nicely into your ellipses, where you're able to maintain both the even, rounded shape of your ellipses without any deformation or stiffness, while also keeping them relatively snug within the space they're allotted. Even where many students tend to go a bit stiff and distort their ellipses in the ellipses-in-planes, you're doing a good job of prioritizing the integrity of their shape. You're also doing pretty well with the funnels, though I am seeing a slight tendency to tilt the ellipses just a little bit, so keep that in mind for the future.

Skipping down to your rough perspective boxes, you're doing a good job with constructing the boxes themselves, though your line quality does drop somewhat here relative to what you demonstrated in the first section. Remember that no matter how complex the task, a line is always just a line and will demand the same amount of attention. Be sure to draw each line with the proper investment of time into each of the stages of the ghosting method, in order to avoid wobbling and to ensure that every mark is made with confidence.

Moving onto your rotated boxes, these are really well done. The line quality is still a little bit weaker than I know you can do (a touch better than the rough perspective boxes, a touch worse than the ghosted planes), but as far as keeping the gaps between your boxes narrow so as to eliminate any unnecessary guesswork, and covering the full range of rotation across both major axes, you've done a great job.

Lastly, your organic perspective boxes are a great start. There is certainly room for growth in terms of getting your sets of parallel lines to converge more consistently towards their shared vanishing points, but this is totally normal and expected. This exercise merely introduces the concept, and is not a test with any particular expected standard. As such, the next stop will be focusing more on constructing these kinds of freely rotated boxes.

So! You've got some solid work here, just be sure to work on applying the ghosting method more thoroughly with every mark you put down. Feel free to consider this lesson complete.