Starting with your leaves, these are looking considerably more structured. You're applying construction properly here, as you build up those more complex edges. There are some places where you're getting a little ahead of yourself and drawing too many "bumps" of edge detail in one go (like here), which still results in more limited zigzagging, but you've got plenty of cases where you're taking more time and building them up separately as well.

Your branches are also generally looking much better, adhering more closely to the instructions.

Looking at your mushrooms, as far as I'm concerned the structure is coming along just fine. That intersection between the mushrooms was handled fine, though it certainly is a more complicated problem that isn't really the sort of thing I want you stressing out over this early on in the course. Our focus falls primarily to understanding the structure of the individual items themselves, how we can add pieces together to achieve structurally solid results. Either way, you handled it fine.

Your chamomile is okay, although I'm definitely noticing that as you start increasing the number of petals you have to draw, you're definitely taking less time to draw each individual mark. This is an issue I explain back in Lesson 1's ghosted planes exercise where we assign a "unit" of work based on how complicated a drawing is, instead of always putting the same amount of effort to execute each mark to the best of our ability. All drawings should not be treated as equal - some are just far more complex, and therefore demand far more time, to execute each mark as well as you can.

Structurally, you're building these things up just fine, although I am admittedly a little confused as to what's going on over here. I can see that you attempted to use a sausage form to create a sort of container to support the structure you place inside, but that internal structure appears to be drawn rather sloppily, rather than focusing on how each individual piece would flow. Likely just a case of rushing through a part of the plant that may not be deemed your "main focus". Just like the previous point - everything requires appropriate attention to be executed to the best of your ability.

For the chinese lantern, the structure is fairly well done. Normally I would warn students away from attempting to adjust the silhouette of a 3D form once it's been constructed (flat ones like leaves are fine, but when they're forms with significant volume, this sort of thing can definitely flatten them out as explained here), but in this case I think your approach to the structure was appropriate. You alternatively could also construct it as a series of leaves folding back and meeting at a point (which it actually does appear to be), but your approach was probably somewhat cleaner.

There is one issue though, and that's with how you tackled the veins. While you say that you were trying to outline the shadow shapes the veins would cast, what I'm primarily seeing here is that you just drew out the veins themselves as lines, falling back on explicit drawing techniques rather than implicit ones. You can see an example of me drawing veins on a leaf in the leaf exercise instructions - note that I'm not drawing the veins themselves at any point. I'm merely drawing the impact they have on their surroundings. Drawing texture means identifying the textural forms that are present, understanding how they relate to their surroundings, and then drawing cast shadows that establish those relationships. You appear to have gotten a little overwhelmed with that complexity, and fallen back to old habits.

Dealing in shadow also has the benefit of allowing you to choose which shadows are going to be significant enough that you bother to draw them at all. If forms are simply too small, and we're looking from too far away, there's no need to necessarily draw all of them.

Actually, correction- I focused on the pages where you were just drawing those veins as lines, but you do have certain cases where you did attempt to draw around the veins. In these cases like here, you still ended up outlining those textural forms (so whenever one vein branched out, the branching point was always closed off with a line). Don't outline your textural forms - outline the shadow shapes they cast. This is definitely difficult to do, and students will often fall back to outlining the forms themselves so they can better understand where exactly they are. What we're doing here demands the student focus on all the forms that are present in a particular location, and determine the shadows that would result. It is by no means easy, so I'm not bothered by your progress here. It is simply something that you wll need to continue practicing. Again, take a look at the leaf exercise image, where you can see how my texture primarily consists of "V" shaped shadows that imply where multiple veins come together.

Anyway, all in all you're moving in the right direction here so I'll go ahead and mark this lesson as complete.