>>7694880
This is a nice drawing and your colours are nice and vibrant, it's very on model for Lucy and the gradient on her hair has been nicely executed.

For feedback what'd I'd mention are 1. contours, and 2. line weights.
With line weights you want to consider the "apex" and the "nadir", or basically peaks and troughs. Things you want to consider when editing your lines are stuff like the weight of the anatomy, its mass, motion, an object's influence on the subject (the table)), distance etc.

With contours I think the best example I could point to is the sweetheart neck on her chest. Do you notice how the contour of the left line on mine follows the form of her breasts? I can see that you're already thinking about this with the detail of her collar though so that's great.

Shadows! You've included some tit shadows on the table, good catch. The thing to remember about shadows is that the closer the shadow is to the cast object, the darker it is and the tighter/harder the line of the shadow becomes. As shadows are cast further away from the object, they give way to light and diffuse, becoming lighter and the edges begin to blur. This is kind of hard to illustrate with mine because I've opted for hatched shadows, but the principles apply with the lines becoming tighter in the middle where they're closest to the table.

Breasts, I like to think of as water balloons. The difference of course between a water balloon and a breast is that breast tissue has a wider point of connection at the pectoralis which is what helps them maintain their round shape. When the mass of a movable object meets an immovable object, the met part of the movable takes the shape of the immovable.

I tilted the head down further because I can see that you're going. You can tilt the head further bringing the chin closer to the neck to emphasis sensuality and allure, you kind of get that "come hither" look.

Sorry for the wall of text btw, I've never been good at explaining things succinctly!