In regards to whether or not you drew enough plants, there's nothing to worry about. I assign the work in "pages" so I can leave that choice up to the students. Ultimately what I care about most is that students make use of the space available to them on the page - which first comes down to giving each drawing as much room as it requires, and only assessing whether another one will fit once the first is finished. Generally you've done a good job of this, specifically in giving each drawing lots of room. This is important, as it helps engage our brain's spatial reasoning skills, while also making it somewhat easier to engage our whole arm from the shoulder when drawing.
So! Jumping in with your arrows, these are off to a great start. I'm especially pleased with how confidently they're drawn, which really leads into a nice sense of fluidity in how they move through the space they occupy. You're also doing a fantastic job of building up your edge detail one section at a time, with strokes that rise off and return to the existing structure (creating an extension of that silhouette rather than just stamping another loosely related line onto the page). You're also doing a great job with the more complex leaf structures as well.
I do have one small recommendation however - in this one you had some edge detail that ended up being fairly complex, incorporating more than a single 'bump'. For such a situation, you'd actually break it down further into separate steps, as shown in the line I drew on the side. First the purple, then the green to establish the a simpler basis for the majority of that detail, and finally the blue to add what's missing.
Continuing onto your branches, your work here is largely quite well done, but there are a couple things to keep an eye on:
Be sure to extend each segment fully halfway to the next ellipse. Specifically, you want to be following the pattern explained here, where each segment starts at one ellipse, continues past the second and stops halfway to the third, with the next one starting at the second ellipse and continuing the pattern.
While I am seeing some degree shifting from ellipse to ellipse, I'm not sure if it's entirely intentional, as there are plenty of other cases where the degree of your ellipses remains consistent across the length of a branch. So, just a reminder that as we slide along a cylindrical structure, moving away from the viewer, the cross-sectional slices will steadily get wider (resulting in wider ellipses). Now, that's the rule for a straight cylinder - these branches twist and turn, so that also factors in, but this basic "farther = wider" thing is a good rule of thumb. We go into demonstrating why this is in the Lesson 1 ellipses video.
Moving onto your plant constructions, for the most part you've handled these quite well. I have just a few recommendations to offer:
When drawing your flower petals, you're generally doing a good job of drawing them even where they're overlapped by their neighbours. Where you do not draw them in their entirety however is where they meet at the center. For example, with this one you've got them each getting cut off by that central element. Be sure to draw each leaf or petal in its entirety, even when it gets overlapped by other forms, simply because this helps us better understand the entirety of how each form sits in space, and how they relate to their neighbours. Of course, you do this in most cases (this one being an excellent example of it), but I felt I should call this out just for the sake of completeness.
Be sure to construct your cylindrical structures - like this flower pot around a central minor axis line, to help you align the ellipses to one another. Also, adding an extra ellipse to define the level of the soil may seem superfluous, but it can help give us something more solid with which to intersect the plant stems.
You've got some cases where, when adding edge detail to your leaves, you zigzag back and forth across the existing edge as seen here. I explain why this is a problem in these notes.
I noticed the comment you left here about not understanding textures. Based on what you've drawn there, you're technically not far off. That is, you're focusing on the specific textural forms that exist along the surface of that mushroom stalk. Understanding how the forms exist in space is the first step, as it allows us to consider how that form relates to the surface around it. From there, it's a matter of inventing/designing the shadow it ought to cast on those surrounding surfaces, but without first outlining the form. It is quite challenging, and requires us to spend a lot of time identifying the textural forms one by one - even when there are a lot of them. Here it looks like you were on the right track, but you may not have felt like giving it the time it would have really required.
For the potato plant demo drawing, it is pretty important that you complete the entirety of the demo - including having the other leaves cast their own shadows. Without doing so, it looks like you've merely filled in the negative space between those other leaves with solid black, when that is instead meant to be shadows being cast down onto the dirt (in an area where the foliage is so dense that it effectively covers everything).
Anyway, that about covers it. I'll go ahead and mark this lesson as complete, so be sure to keep the points I've raised here in mind as you continue forwards.
Next Steps:
Feel free to move onto lesson 4.
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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