Keep your light values very closely grouped the same way you did with the roof of the shed study you posted. Try not to overanalyze every little bump until the very very end of the painting. How do you know when to add those small details? When you feel you could post the painting online without adding them.

How do you create dynamic poses from imagination? Whenever I try I end up with limbs flailing all around. Is it all about memorizing a few poses that work? Or how do you figure out their pose before you begin? Thanks :)

They look great but it seems like you're working with perspective without considering the horizon line. But I'm pretty sure these are from draw-a-box so I wouldn't worry about it. Just establish your horizon before you draw something. Getting proportions right is a lot easier when you're thinking about your vanishing points.

I think your hands are too small in some of them but other than that it looks great. I wish my figures looked like this. Do you have any suggestions for me? lol I really do wish I could get that much rhythm and clarity in my sketches

This is a really great study @psylite! I did a brief paint over, however I barely touched your image because the level of finish you got to was already solid So, I've definitely found it difficult to get good edge variation through photoshop brushes. However, I've found that using the smudge brush is extremely helpful for this. I use a pack from a concept artist named John Park. I believe he sells his brush pack on gumroad if you wanted to try that. Or you can experiment with the base smudge brushes that photoshop gives you. I just find that manually blending with a photoshop brush doesn't allow me to get extremely soft edges that I need when rendering the turning of form. Another thing to think about is stylizing your edges. You can create soft edges in areas that are not your focal point, kind of like mimicking the way a camera focuses its lens. I softened up some areas below the neck, as well as some details in shadow. Lastly, I softened up some of the edges in the hair. Hair is a softer material than our face, and we can communicate that difference in material through edge variation. Hope this helps! Let me know if there is anything I can clear up for you

I've found that the best way to understand anatomy is by copying plate diagrams, and then redrawing them from imagination afterward. Cycling between copying and redrawing without reference until I understand the material. And then doing a figure study where I can apply what I've learned. Sounds daunting but each drawing should only take 5-10mins, and limit yourself to <1 hour for the figure. Also don't spend the whole day doing studies. Set aside an allotment of time for studying and then move into personal work.

Looks like you’ve got a wide range of drawing exercises and studies. Is there anything in particular that you are looking for feedback on? You appear to have a great control of tones and gesture.