Great work, @cattlewagon. I really like how you painted the forms in the torso. It feels very three dimensional. One thing I noticed is that you used the lightest value throughout the figure. It was noticeable to me because the foot has the same value as the light part of the hip, ribs and forearm -- if you squint at your painting they all have the same visual importance. If you bump down the highlight values as you move down the figure you can give the effect of light falloff. You can also use this technique of limiting your lightest value to specific areas to draw the eye to those areas. In my draw over of your painting, you can see that I'm putting the emphasis on the triangle of the forearm, hip, and ribs area. Where you direct attention to is personal preference, but it's a powerful tool. Hope that's helpful!

Hi there! You're already showing good volume and proportion of the figure, as well as anatomical knowledge, but I think it would benefit from pushing the gesture further. The reference image has a pose that pushes her hips out and to the side while bringing the upper torso/shoulders further back, creating a really dynamic flow diagonally that would be great to focus on and even exaggerate. She also has the direction of the shoulders and the direction of the hips in opposing tilts, which is referred to a "contrapposto" pose, and has been a popular pose for artists throughout history (most famous in Greco-Roman sculpture) precisely because of the dynamic quality it creates, so I would definitely recommend pushing it as well :)