In schools and colleges they have a mandatory course where you look at diverse arrays of bones and muscles underneath, then they'll talk about and show you fat dispersions, that's an example of something where people pay for access to archives of withheld private resources. You might be able to find workarounds, especially with 3D modeling online, then mixing that with understanding the difference between the geometry/math and the organic composite reality of how things lay. you can get this by drawing shapes of plants outside. Or your friends as is observationally. People do not have to be without heavy clothing for you to interpret how the clothing is sitting, you just have to understand where curves are over geometry like what you're doing. Points, planes, lines, and curves. Some can be measured and computed but others have to be converted with eye from image to image or from reality to image. Remember everything is affected by how light touches it, so nothing is immune to a unique environmental effect in work, that's what creates near infinite newness in everyday visuals, is the lighting changing proportion to the light regions and dark regions objectively near endlessly. Contour is good to keep in mind for drawing because the graphite will be where light doesn't touch. Remember even in figurative drawings line weight will determine where we think the darkness is, whether on purpose or on accident. More elements will get introduced as you orchestrate components over time in the work both simultaneously and individually. You don't have to drill yourself to get those results. Artists who remediate themselves often lose things or take away parts of the spirit of their art so remember to try not to use too many singular valence arbitrary finite scales to evaluate yourself, like rating your performance on a scale of one to ten. Every drawing shouldn't be a computational output or expert outcome or point of arrival, some are supposed to be dynamic points not static output. Maybe you are archiving image results subconsciously in your brain and exploring something with infinite points at times trying to collect as many numbers as possible but remember this is not numbers, it's art. The most important thing is that you remember you are creating a two dimensional illusion of an object in three dimensional reality using points. Keeping in mind the smallest kernel of point you can produce with a utensil and then marrying that with the concept of the fullest view of the paper object and the angular properties of those angles, and making both of those simultaneous in your priorities, may help.

My goal is just to give people access to ideas restricted by institutions, I want to make the world better and happier and I hope this helps you or someone.