I think you may have taken the "mannequization" word a bit too seriously LOL because this is very mannequin-esque. In that regard though, the structure is very nicely provided, and I can feel the twist very nicely! Now prepare for a ton of feedback :) Contour lines; there's way too many of them. For each section on the limbs (upper arm, lower arm, upper leg, lower leg), really only one contour line is needed unless there's some crazy twisting, foreshortening, or one of the sections' bones is broken the limbs bending in 3 places or something crazy like that. One effective contour line will provide all the information the viewer needs to infer the orientation. In addition, your contour lines seem a bit flat. Notice how (for example) the models lower right leg's contour lines flatten out at the top, making it seem like her leg is almost completely flat on top. We obviously don't want that because that's not how it is. Contour lines' effectiveness come from their EDGES (where they turn off into space), NOT their centers. In order to get effective contour lines, practice ghosting and feeling the form before putting down the mark. I would say more, but drawabox.com (a free online drawing resource) says this a lot better than I do and is also where I initially learned these concepts from. In addition, contour lines DONT EXIST in real life. This means that if you draw contour lines as hard as you draw the lines that actually define the form, sometimes it'll be read as being ON the form in real life. Therefore, remember to lighten up the contour lines as contour lines are, in essence and function, meant to be there to solely suggest the orientation of the form. ***Remember Gesture***!!! Gesture is the most important part of the drawing and it seems to me here that you've build each section of the body up piece by piece, which resulted in a very mannequin-esque pose. The general flow of doing figure drawings goes something like this: Gesture, form, contour, anatomy, rendering (with each individual step becoming more merged together the more experience you get). So remember to do the gesture first, applying knowledge of the robo bean to get that torso right, then build from there. Robobean: The torso box is out of proption; be sure to review the robobean lesson and the landmarks lesson to know where the corners of the box are. Front corners on PSIS, back corners on ASIS. If you're confused by anything I just said, go back and review! Her head position is also sligggghtly off - in the post the center line of her head is not visible since she's facing away from us. The curve you drew should be a bit straighter. Of course, if you're confused by anything I said, the best thing to do is just to watch Stan do it! Watch the demo and follow along, identifying what each line represents. It helps a ton! TLDR; Remember gesture, contour lines are important to get right but there doesn't need to be so many of them, and some things are a bit off proportionally and positionally. And watch Stan's demos! Keep up the good work! - Also don't worry about the hands and feet, it's alright to just draw rough shapes for them :) Those things are pretty complicated just by themselves, so no need to stress over them now!

Good work! I definitely see some good beans in terms of how then bend forward and back. Though one big thing: Drawthrough!! Looking at your beans I get the feeling that you drew along the contours of the bean, trying to get proportion and orientation in space while you were doing it. This is inherently a lot of things to juggle (especially if it's your first time) and can easily be overwhelming. Try like Stan did in the video and drawing two ovular masses to indicate rough size and position of the masses of the ribs and torso, then connecting them with lines and adding orientation (twists, leans, etc). Then draw the line of action last to finish it off. Drawing through is important because it takes those tons of things you need to juggle and simplifies them into steps; the establishing ovals give you position, size, proportion, and general establishment. Then drawing connecting lines between the ovals gives you more refinement of form, adding orientation details further defines that. Then the line of action is added on top to even further define orientation, though if you're doing it right, the line of action often won't even be needed. I see you've also draw contour lines on two of your beans - this generally isn't necessary. The process of drawing the bean itself, and more importantly correct orientation details, will give the contour naturally. It's also great to want to try something new! I feel the same way, doing the same gestures for months burned me out. But because Stan's courses are meant to build gradually on top of previous modules, it's important to follow the way he's set up his courses. 2 weeks on each module max, whether you feel comfortable with it or not, then move on. And keep it up!

These look good! One big thing though; it seems to me (looking at your drawings) that you draw through a lot, instead drawing more along the contour of the bean. Trying drawing through the masses, with the ribs and torsos being ovals and then connecting them like Stan does in the videos. Sometimes he'll start with the longest lasting arc, but for now I'd say try to limit doing that. Once you get a fairly good handle on proportions (which just comes from doing overkill amount of beans) you can try doing longest lasting arcs and omitting drawthroughs. Drawthroughs are important because they help your brain understand where the forms are in 3d space, and especially help with foreshortening and twists. It also helps to establish better proportions. Try doing like Stan and drawing the two ovals for the masses of the bean, connecting them with lines, adding folds and twists where necessary, and THEN drawing the line of action to finish it off.