Nice work overall! Your linework is confident, and you're applying the ghosting method well to reinforce it with proper control and planning. This carries over to your ellipses, though there are some places where they end up getting distorted a little to fit better into the space they're given - this matter of accuracy is important, but keeping them round and properly elliptical is your main goal, so this should not be sacrificed. This comes up a fair bit in your ellipses in planes, so watch out for that. Also, in your funnels, you have a slight habit of tilting your ellipses so they don't end up fully aligned to the minor axis line, though you're fairly close in most cases.
Great work through your rough perspective boxes, though keep working on getting your estimation of those lines that move back into the distance to line up better with the vanishing point. Your rotated boxes aren't quite finished, but what you've done here shows that you're keeping the gaps tight and working towards getting the rotation. You're just missing the top and bottom rows.
Lastly, your organic perspective is coming along well. The linework is good, and while there's loads of room for improvement with the actual matters of perspective (getting those lines to converge towards their vanishing points more consistently), that's what we work on next.
Next Steps:
Go ahead and move onto the 250 box challenge.
For the rotated boxes, it looks like you are missing two boxes in each corner so I would recommend going back to that page and do your best to fill it in.
Thanks for the feedback. I really striggled with the etire exercise. I wouldn't mind having another go at the whole exercise.
It is really difficult but all you really need to do is finish it to the best of your current ability. Don't get hooked on perfection and know that progress will come with practice.
Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.
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