I think we often overemphasize time limits and what can/should be done by then. They're just tools to boost productivity or help you study:
1. They force you to be "good enough" and move on
2. They encourage you to refine workflows to become more efficient
3. They reinforce your visual library, because you take 'snapshots' and remember them
In effect, drawing a full human silhouette in one minute mostly demonstrates (and reinforces) a big-picture understanding of anatomy, not necessarily of motion.
My advice is to include the basics back into your drawing method. Prioritize lightly sketching a clean and well-proportioned "stick figure" - main line of action, other rhythm/motion lines, use simple shapes, indicate foreshortening, and so on. Aim to do that in a minute or slightly less.
Then optionally give yourself another minute or two to construct a body based on that. Deviate from the line as needed.
When you build a good enough visual library and solid understanding of anatomy, and if you practice it a lot, you might be able to draw great silhouettes directly, but it doesn't strike me as something that has to be trained as a skill.
Scribbles or redrawn lines might indicate uncertainty. Try doing short sessions focused on only one bodypart or small area, from lots of different poses and angles. Set a reasonable time limit to add pressure, then aim for clean, accurate lines and try to visualize the underlying shapes. I get best results when combining that with occasional in-depth untimed studies.
You're off to a good start!
The most important thing is to keep exploring things and challenging yourself in a way that's fun (or interesting) for you.
For improving the figure drawings, I think what would benefit you the most is to draw the line(s) of action for each pose. It'll give you a visual reference around which to construct the body.
You can also add simple shapes of your choosing to describe each bodypart. Don't worry too much about time limits, but aim for accurate proportions on each first try, and it'll rapidly improve your understanding of the human figure.
I find it also helps a lot to occasionally pick one thing I struggle with and do an in-depth study session of just that - no difficult time limit, just different angles of one bodypart or facial feature.
Hi!
Both torsi actually look really good to me. Overall solid work and great job on the foreshortening.
I'd recommend focusing on the legs next, and especially feet, as those stand out to me in both images.
In the first sketch, her left leg appears straightened out, which feels slightly unnatural because she's holding it out sideways, with her right leg vertical and weightbearing. I also can't tell if her left heel is on the ground with the foot tilted inward, or if the heel is raised with only the toes on the ground, and if the toes are flat or pointed.
In the second sketch, you seem uncertain about the feet, knees, and how her thighs attach to the torso.
The lens distortion adds a really nice touch, but be aware that it obscures proportions - if you're using a reference image, double-check the size of the upper legs and the feet.
Maybe practice how the knee, foot, and prominent leg muscles look from different directions. Also take a look at how things change when the leg bends. You clearly have a very good eye when drawing from reference, but make sure you fully understand the underlying shapes, not just the outline.
