Starting with your cylinders around arbitrary minor axes, your work here is for the most part done. The decisionmaking is generally pretty solid - meaning, you're aiming for the right things, and your alignment to the minor axes (and subsequent error-checking) is all coming along well. I did however note that there are a number of areas where your linework falters just a little bit, or your ellipses come out a little wobbly (as you noted yourself), but I don't think it's just you being out of practice. I think part of it is the kind of sketchbook you're using.

Back in Lesson 0, I did specifically mention that you should use printer paper, but if you insisted on using a sketchbook, that you should grab one with rings because it'll allow you to fold pages back and not have to deal with the opposite page trying to fold over your hand. In general, you're setting yourself up for a very uncomfortable drawing experience. While that's your own business when it comes to your own drawings, for Drawabox work it means you're going to be wasting cognitive capacity on dealing with that irritation, rather than focusing on the task at hand.

Anyway, moving on from that, I am pleased to see that there's a good bit of variety in terms of the rate of foreshortening of your cylinders, and I'm not seeing any cases where you've just kept the side edges completely parallel on the page. I will however note that some of these - for example, 32, 36, 82, 110, etc. - share one key issue. While there's fairly dramatic foreshortening when you look at the shift in scale from one end to the other, there's virtually no foreshortening when you look at the shift in degree. That is, while the far end gets way smaller than the closer end, the far end appears to be roughly as wide, proportionally, as the closer end. This is incorrect - both of these 'shifts' represent the foreshortening of the cylinder, and so they should both shift in equal measure. If you end up with one being dramatic and the other being fairly shallow, that'll come up as a visual contradiction that the viewer will pick up on, even if they're not sure precisely what is making the cylinder appear to be "off".

Moving onto your cylinders in boxes, overall you're continuing to do a good job. You're fastidious in checking the convergences of the box's edges, along with the additional lines introduced through the ellipses, and you're clearly making adjustments to help push the ellipses' lines towards converging with the box's. As you do this, you're training your instincts in terms of your ability to construct a very specific kind of box - one that features two opposite faces which are proportionally square. After all, if those line extensions all converge towards the same vanishing points, then the ellipses represent circles in 3D space. If that's the case, then the planes enclosing them must also be squares in 3D space. This intuitive sense you're developing will certainly help you throughout the next couple of lessons, though there is certainly more room for growth on this front as well.

All in all, you've got a few things to keep in mind, but your work is coming along well. I'll go ahead and mark this lesson as complete.