You have a good innate sense of proportion, and when the pose is more extreme you drift into gesture naturally. SO you are already sensing what I am going to be suggesting.
You are getting the point of the excercise on your own well enough.
But you WANT a critique, so:
From what I see, you are drawing "quick contour" studies. Now... Those have a place for sure! (One fun thing is limit one side to curves another straight lines and block the model, etc)
Gesture is, to me, more the "action" of the pose than the actual outlines or form of a pose (per Nicholades which invented the thing, he may be some good but very obtuse reading on
http://www.ingetang.com/ He talks of "feelings" too much)
The best way to put it is you are working inside-out very well; draw and outline and fill it is the normal way we draw.
But, there is also a 2nd half of working outside-in that might help you.
As I see it:
With a gesture you want to draw the movement more than the "form" it's why it exagerates, etc. If you ever played street fighter the gesture includes the "HA-DOO-KET" part of the punch. There's the punch... but also the flow of action upward.
If that metephore falls flat or is to dated/nerdy:
when you jump from just one foot, with outside lines, anatomy, poses etc. we can from the outside see the muscles in the legs move. Drawing that well is indeed a skill!
Yet, the skeleton, etc. is also flexing/ twisting/ moving. If we look at just a leg we can't see it, but as a whole "figure" we see the bending inside the body. That's what Gesture is really trying to get at. The whole figure shifting and moving at once. If we draw everything as pieces we miss the "boom" of the whole.
So my critique:
Your poses don't have/ risk any lines running through the entire figure (call it a line of action, etc. thats a "technique" but not the only way).
In image 0620 the female doing splits on the right shows what i see generally: You stop the line on the breast, then carve it on afterwards. I would carve the entire form, then augment with the breast. In most the figures there is a sense of assembling as you draw not clarifying.
There is a sense you are carefully, (and skillfully, I'm writing a lot to a stranger here), carving out the space around the figure, but not actually "building up" the figure itself.
Its like you are drawing what isn't instead of what is, if that makes sense. It's kinda "painter" advice, they push edges out.
SO i say try to draw the whole figure, then the parts. And draw the form, not the space the form occupies.
Some exercises I would suggest as an old man to help:
1. Use Nicholades own gesture method (it's nasty nasty scribbles, it looks bad!) but it cuts "through" the form. Google it; it's basically just don't lift the pencil and scrible back and forth to draw the form. Yes it looks dumb, but it for a few days it will get the point across.
2. Try drawing on grey/brown with white and black or white with a light and dark color pencil with a sense of "quick coloring" (white 1-minute and black 1- minute or so).
3. Find one big line a curve or whatever (a line of action) that sums up the pose, then draw all the other lines off it as straight lines or curves. Looks cubist but it helps
4. Ignore lines totally and with pen scribles in circles/ side of a crayon try to draw a figure (picasso liked to do that)
5. Take a photo/ drawing and some tracing paper and draw the skeleton in over it. You'll have to make it bend and flex.
Take away from what I'm saying:
These are practice, who cares how practice looks. But yours beat some of mine!
I think you are carefully drawing outlines. And good at it. That will improve your skill as is.
But there are other aspects of art that you could add ontop of those if you in "practice mode" play around more.
