Your skills are definitely improving. Your facial structures are showing more consistency, and there are also improvements in the use of shape and form.
As for criticism, let's start with the smaller things, as sometimes its the small things that make the biggest impact (funny how that works, isn't it?). Jypsi's chin looks like it could use some more definition in the place where it should show how it connects to the front of the neck. Also, consider how the neck connects with the body and how the muscles of the neck create the connecting rhythm between the two. Even if you can't see the underlying structure underneath the scarf, it always helps to at least sketch in lightly underneath where things like the clavicle line and the sternocleidomastoid muscle are just to remind one of how things will drape over the lower neck and shoulder area. The latter of that you don't even need to leave much in the final drawing to suggest form in the neck, because a little goes a long way and too much would start to make a character look like a bodybuilder. That line works as a way to connect the area behind the ear to the front top center of the chest, helping to keep track of the centerline of your figure.
Now that I've spent more than 150 words on a tiny aspect, let's move on to the calf muscles especially the right calf muscle. The shape here doesn't seem to be doing much to indicate the form of the surrounding area. The thigh shape (which is good on its own) doesn't overlap well with the calf shape, I think, at least not enough. feels like it loses definition because of that. This is where only continual observation, practice and experience will give you the judgement to know how much overlap is enough to suggest the form you want.
Lastly, from a perspective and composition standpoint, considering her body is turned to the left, it seems her left foot should appear closer to the viewer, but her feet are planted on the same horizontal line unless she's sweeping that leg all the way behind her (in which case her left knee should be lower.) Similar issue with the horizontal line that connects the location of her knees. Keep in mind a few basic principles of depth and perspective as you compose and for the most part I think you can lick that issue pretty quickly.
Coloring and shading in line art is a lot harder than it would seem it should be, and I know from personal experience that I still can't quite figure out how to consistently make the combination work. Much of my work still looks better to me in raw line form than after it's "finished", so to speak, and so I commiserate with this challenge. I'm fairly certain it has something to do with the utter blackness of the line compared to the softness of the shading and the background makes it appear as if they're not unified as "one" entity. The black is so naturally at contrast with the lights that perhaps it's just that there needs to be more contrast within the lights and darks of the colors themselves to bring it together. Either that, or tone down the linework to be something other than black. Perhaps a shade of grey or tinted dark grey.
That's all I'll say for now. Good work and like I said, you're improving, so be proud of yourself!
Best of luck.
"Jypsi's chin looks like it could use some more definition in the place where it should show how it connects to the front of the neck."
Oi! Keep forgetting about doing this. Thanks!
"Also, consider how the neck connects with the body and how the muscles of the neck create the connecting rhythm between the two."
I really want/need to study anatomy more in depth before I take the Drawing Force classes [animal anatomy as well, since it is what I'm especially lacking in]. It's just a matter of finding a class or teacher to help me do so. On another note, I'm putting expressions and dynamic posing/body language first on my priority list. Because this I believe is the root of the impact, the conveyor of the message. Plus ever see a thoroughly detailed drawing with proper and even realistic shading but lack of expression and form? Looks pretty ridiculous most times.
"the calf muscles especially the right calf muscle. The shape here doesn't seem to be doing much to indicate the form of the surrounding area."
Now I'm starting to see this more clearly, this paragraph. [remembering this as a tip for the future]
"Lastly, from a perspective and composition standpoint, considering her body is turned to the left, it seems her left foot should appear closer to the viewer..."
Perspective is a scary and difficult thing that I will try learning very soon. I THOUGHT something looked wrong about her foot placing...
"Coloring and shading in line art is a lot harder than it would seem it should be"
when I saw this, all I could think was "I THOUGHT I WAS THE ONLY ONE"
"I'm fairly certain it has something to do with the utter blackness of the line compared to the softness of the shading and the background makes it appear as if they're not unified as "one" entity."
Now SOMETHING about this also pulled on my attention, but I took little note of it. But now looking back, I'm wishing I perhaps made the lines smaller, or maybe a lighter shade of gray like you suggested.
"Good work and like I said, you're improving, so be proud of yourself!"
Thank you!!! C': And thank you for your help, because you have indeed, deeply informed this process.
Regarding facial expressions, I've been corresponding w/ Mike at the drawingforce website about doing a video explaining how to apply the eye mask and mouth shape ideas to non-human characters, as I've been struggling a bit to apply the earlier videos to that character type. Figured it might be of some interest to you as well. Keep an eye out for it.
Are you planning to sign up for one of his new online classes? I know he's expanding to two classes in January from the one he's got going on now.
I'll look into that...
I'd love to be in a class of his, but I'd really prefer a one-on-one teaching method for myself... I don't do so well learning in a group and I'm not as experienced as the students also watching his videos.