You are doing an excellent job in most of these, just avoid detailing specific features. Do more of what you did in the brown ink drawing.

You are doing fine. Try to avoid drawing the contour of the torsos, try capturing gestures that move all across the figure rather than individual gestures for each limb and keep working on that overhand drawing.

Here is the New Masters Academy playlist of instructors doing timed model drawings as examples of how different people approach the challenge: https://www.youtube.com/playlist?list=PL7EWYwaF6E-GiaE31csl_6c8tlifE8Nb5

You need to take better pictures of your drawing. The little I can see does show a simplification of the figures and a good use of fewer lines, but by the quality of the photos is hard to tell.

You are doing great, it seems like you get the idea of leading the eye across the figure with long lines. They aren't perfect yet, in the forth one, for example, I can tell you tried to draw the contour of the torso rather than the gesture, all of them show this same error in some way or another, but even if they are more fluent in some areas, and more stiff and sloppy on others, overall they show a care for flow. Keep practicing, avoid drawing contours, and you will improve. Good luck!

I can tell at a first glance that you are focusing on delimiting the figure and drawing the contour instead of drawing the movement across the body. I recommend you to forget about showing the shapes of the limbs, but rather capture the movement of them. It's not about making pretty drawings, it's about capturing leading the eye across the figure. Keep this in mind, keep practicing and you'll get there. Good luck!

You are concentrating too much on delimiting the figure and drawing the contour rather than catching the sens of movement and fluidity with big, long and loose lines, and the addition of shadow only increases the errors. You should grasp the movement and overall flow of the figure, not make a pretty drawing. Take Glenn Vilppu as an example and pay close attention to how he describes his own process wile executing: https://www.youtube.com/watch?v=aOtVUHgJqQk He goes both AROUND and WITH the form, takes particular care on the SENS of flow rather than enclosing and delimiting the figure, instead he leaves spaces open and features undefined, since those distract rather than help with the portrait of flow. Btw, if you are having trouble using long and very precise lines to define the gesture like Stan does, try a more Vilppu, messy, approach. With time you can try to reduce the amount of lines you use and increase the speed of execution. I hope all this information is of use to you. Good luck with process!

You are concentrating too much on delimiting the figure and drawing the contour rather than catching the sens of movement and fluidity with big, long and loose lines. If you are not at the level to use some few lines to portrait gesture, try drawing gesture on a more loose, messy way, at the end of the day you should grasp the movement and overall flow of the figure, not make a pretty drawing. Take Glenn Vilppu as an example and pay close attention to how he describes his own process wile executing: https://www.youtube.com/watch?v=aOtVUHgJqQk Messy, and numerous lines, that go ACROSS and ALONG the form on a flow-like SMOOTH sens. Later, as you acquire more skill with the pencil you can try to use fewer and fewer lines, and do the gesture quicker and quicker each time. Also as a bonus. Something that helped me understand the feel of flow in the figure and personally helped me improve my design and gesture, here's a video of John Asaro where he tackles the common issue of the sens of stiffness on figure drawings: https://www.youtube.com/watch?v=uYmyvgwY10U I hope all this information is of use to you and please let me know if said information helped you improve. Good luck!

You are using the wrong tool, pen-like brush preset only for linear drawings, and a more air-brush like brush for shading. Don't use opaque lines to portrait shadows, use a brush that blends and/or has transparency. If you want to know how good a brush is for achieving good rendering, look how easy you can do a 5 values chart (five squares of different tones of gray, where the darkness gradually increases every square) with said brush preset.

Don't worry too much about proportions on the gesture drawing stage, later you will learn to compare body parts and mesure them using the head a the basic unit, right now concentrate on your design and portrait of fluidity across the figure. Good luck!

More gesture, try to achieve a higher sense of fluidity with your line work, practice more quick and long gestural drawings, and as a bonus, I will recommend the following video by John Asaro on the New Masters Academy YouTube channel, where he teach how to avoid the sence of stiffness on the figure: https://www.youtube.com/watch?v=uYmyvgwY10U I hope this helps you to improve your overall design before going for a full figure drawing!

Those are ok drawings, the only thing I would advise you is to concentrate more on the three-dimensional aspect of the breast, try adding cross contours and/or shading, less contour linear drawing and more focus on the plane changes. Either way, you are doing well!

Besides the obvious: studying the fundamentals of basic 3D forms, the other key for the understanding of the human figure is anatomy my dear friend, and more work on observational drawing to aid such studies. Personally I always recommend to complement Stan's Portrait Drawing Fundamentals with some anatomy books. The most complete and well redacted I can think of are "Anatomy For Sculptors" (page 99 on wards) and "Anatomy Of Facial Expression" (the first chapter) by Sandis Kondrats and Uldis Zarins (but any well written book about anatomy for either 3D or 2D artists will suffice). And to aid you in the mental process of coping from reference I highly recommend the Bargue Method as explained by Stephen Bauman on his YouTube Channel. After grasping the basic concepts given by the Bargue Method, and repeating the same copy from diagrams and photos process for each part of the face as an aid to the Proko Portrait Drawin Fundamentals Course you will be able to better understand, recognize and draw the whole head.

The first one is good, the second one not as much. James Gurney always says that he recommends new artists, who are just starting, to avoid style and concentrate on depicting the natural world as close to real as possible. Your cross-hatching, even though it might be your preferred method for rendering shadows, is interfering with the depiction and understanding of the forms. I will add that, if you want to depict shapes and shadows through cross-hatching, I recommend Alphonso Dunn's videos on YouTube, and also his book "Pen & Ink Drawing: A Simple Guide". I hope this resources help you in your journey.

Don't worry, you didn't miss anything, this is like a summary of part 1 but without the technical parts, and focusing about the aesthetics and design of the muscles