The elements by which this drawing succeeds is in the tightness of composition, variety of line , stylization of faces, and sense of motion. The faces are stunning, and one of your strengths, as evidenced by much of your work, is the filigree- that mess of curls is always breathtaking.

What detracts from this work is anatomy and page composition. A few adjustments in the early stages of composing a piece will make the difference between a good and an amazing drawing.

A very simple problem is the hand- it is in a spot that garners great focus in the piece because of the contrast, and therefore is a problem if it is not perfectly drawn. The fingers appear to have only one joint each- keep in mind that the finger has three segments, and beautifully drawn hands will come naturally.

The more complex problem is the composition. A best composition has thoughtful consideration of all edges. In a picture that bleeds off the edge of a page, one considers how the edges are divided by the forms that meet them. In a picture that does not touch the edges of the page, one has to use much more sensitive consideration of edges. The white forms are as important as the black ones- this means the triangular white form in the lower right- the rectangle of white that lines the left... consider how these shapes contribute or detract to the overall piece. I would suggest breaking up those edges in more complex ways.

As a contained drawing, it is fairly balanced, but as a whole page, it is not.

Finally, that black border is flattening out the piece immensely. In as gentle a term as possible: lose it!