I generally just try to draw them lighter so they get lost once I go in with the actual information I want to communicate, buuut you could use a blending stump to get rid of them and still maintain some sort of underdrawing to use as a guide. Or good ol' tracing paper, I suppose.

Hey Ben, I did a little draw over for you. I'm not sure if these were meant to be pushed or just trying to capture the references but I think a primary issue in each one is the direction of things in space. Where an arm goes away from the viewer, the perspective given by the wrapping lines comes towards the viewer. But one really awesome thing you've captured is the lean of the pelvis. You really push those nicely, especially the 2nd and 4th, which goes a long way in making these look dynamic and interesting. You also occasionally slip into capturing contours rather than the directional flow of a form. I made note of particular ones in the drawover below. As for arms... I hear you. A trick I use is to look for the back of the arm and for the hard edges of the wrist to help me decide how it works. See the drawover, expecially the first one. I try to connect the shoulder into the arm using rhythms that "catch" one another. Sometimes it's just one rhtyhmic C curvel like in #2 but often it's an S curve from the C of the shoulder. And lastly, you get the relationships pretty well, but watch out for angle changes. The last one is a toughy from behind, but if you get the tilt of the shoulders relative to the hips right, the rest works out pretty well, as they do in the others you did. Hope that helps!

See my critique of the 5 for the direction of wrapping lines/cross contours. Remember! Everything lives in 3D space. If things are confusing, slow down and think about what direction the form is moving in space, whether you are looking up at it or down at it. Regarding the spine, the lines aren't exactly the spine, but imply how the spine is pushing the torso. In the case of the cervical line, how the neck moves in space as it connects to the back. The line isn't exactly the bones in every case. Sometimes it coincides, like in a side view for example. I know that's not super helpful starting out, but consider them as rhythms that describe how the form moves in space, the forces that keep the body in this asymmetric configuration rather than an anatomical feature. Keep going! I feel your disappointment, but don't be discouraged. Time and practice. Time and practice.

Hi Ben, The middle E needs a line to vanishing point and the two middle's of the B need lines to the vanishing point. your lucky you have only 3 letters in your name :)

After watching the demo I noticed I struggled with convergence. Any suggestion on how to see that better when looking at a face?