Most of my results came out better than expected, but slightly worse than I was hoping for. Overall i'd be glad to hear your thoughts, i pointed out some of my own glaring mistakes (that i desperately wanted to fix) myself already, but please feel free to add more correction!
Okay, so I like to run critiques exercise-by-exercise, noting possible improvements along the way and possible things you may need to work on. With that in mind:
Your superimposed lines are really good! A few of the curved lines could be improved slightly, as they fray on both ends, aside from that your straights are solid.
Your ghosted lines start a little rough, with noticable wobbling and missing the endpoint. But...
Your ghosted planes improve upon your ghosting ability massively! This is some very clean and solid work, and it is great that you do this as a warmup because I find this is one of the most valuable exercises there is! The only thing that could be worked upon is the ellipse inside the planes, as quite a few don't touch all sides of your planes. What I do is make a ghosting motion over my plane and make absolutely sure I have a clear view of my ghosting motion going over all points, and then make my ellipse!
Your table of ellipses (and funnels) is nice work! Not much to say here aside from that your problem may just lay in placing ellipse in distorted places like the planes exercise.
Nothing much to say about most people's plotted perspective exercise. It seems you got the point and can visualize two-point perspective. Good stuff!
Your rough perspective is good at a distance, but on closer inspection it seems like your line wobbliness in your ghosted lines is returning. Just remember, the stakes of making a box are no higher than the stakes of making a plane, and to make your strokes swiftly with your shoulder. You can do this!
Your rotated boxes are surprisingly solid for a first attempt (this exercise is particularly rough for beginners). Just remember that those boxes at the ends of your axes are supposed to represent fully rotated boxes (you can only see one plane) and that they serve as a good reference point for when to end your box-sphere.
Your organic perspective is good work, honoring vanishing point rules with very solid lines, but it is very cluttered which messes with the illusion of depth. What's important right now is that you got the exercise, but in the future remember to leave some breathing room for the critic's eyes.
Next Steps:
Honestly, I don't have much to recommend since you're already working on ghosting planes! This is one of the most valuable exercises recommended within lesson one. I'd say that you're done with lesson one, good luck and godspeed!
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
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