Excellent

The proportions etc. all seem fairly accurate, and the rendering also went OK on the background and clothing, but something seems to have gone wrong when shading human skin. It looks a bit dirty and rough, somewhat marring what could have been a very nice portrait. If this is pencil, I can offer some advice for it (next paragraphs). Your description says this is pencil, but visually it looks a lot like ink, in which case the following will be less useful.

Probably the single most jarring spot is the eyes on the girl in front. Those are the only heavy black outlines in the whole drawing, and these outlines create a dramatic stylistic shock. Usually realistic rendering should have almost no outlines at all, and define all edges of things with value changes.

The opposite happens on the chin of the mother and the girl in the back. The division between the values is not clearly defined. You don't need an outline, but the boundaries between overlapping areas should get some attention to clean them up and provide adequate contrast so that they read. Keeping the shading strokes really close together and tight will improve the clarity, and you might want to trace the division over - not as an outline - but as a way to clean up any straggling marks.

The arm of the front girl, and the mother etc. are shaded with very even hatching marks. This can often be a stylistic choice, but hatching evenly like this tends to have two issues. The first is that the area looks very flat, and the second is that often you will get lines dividing where two sections of hatching overlap (see near the girl's elbow). One way to avoid this is to shade using circular motions to create smoother gradients, Another option to blend the graphite out in the area (some people use special tools for this, but your finger should do fine). Similar smoothing techniques can be used to avoid such patchy shading on the faces.

Lastly there is generally a lot of dirt on the drawing, which looks like you rested your hand on it and moved it around, smearing graphite all over the place. Putting something beneath your hand - like a sheet of paper - will help to prevent this issue, and you will find it often helps a lot go back in with an eraser to try to clean up any unintended marks.

One final note is that many of the shading issues on the skin can also be found in the background, clothing and hair, but in these sections I think it is OK because it looks stylized and intentional. It is only on the skin where the result is so jarring.

I hope this does not come across as me ripping this drawing apart: I think it is pretty good, but its flaws fall pretty much exactly into my area of expertise, so I went into great detail, hoping to help.

Tuerda Thank you for your comments. They are helpful to me.

Beautiiful creation 💕💕💕💕💕

Super creative work.

you got a masterclass from tuerda (that's what we used to call it in classical music---a single work or interpretation, analyzed by the class-giver), who is studying this very closely. I too appreciate his time and effort. I've encountered similar issues when I drew a lot, though there are examples in the history of art where artists used the same angles in hatching throughout a drawing, and it worked beautifully; but it may be because they didn't have the overlaps or collisions tuerda speaks of, I don't remember off hand. (Here---a so-so example, since the lines are soft, but it's da Vinci: pretty much one direction in the hatch-lines; but his definition in the leaves are beautiful w/ or w/out the hatchlines---I'd give a better example if I had time: https://www.leonardodavinci.net/spray-of-oak-leaves-and-acorns.jsp#prettyPhoto) For me, I see your hatching more as energy than definition of space, etc, so it doesn't effect me the way it does tuerda (not to take anything away from what he so thoughtfully wrote). The drawing jiggles with energies, and so the 3 females here seem part of an overall pulsing, rhythmic whole. The piece is quite intense as a result. As for the portraits, you capture a very gentle joy in the grown woman (I assume the mother?), and in the smaller girl. The other girl seems like a candid portrait--she half smiles, half seems somewhere else...I like that you didn't make it a posed portrait, even though the 3 seem to be posing for you. I also see a house back there, but boy, those plants are intense...and, as in some of your other drawings, the blacks (darks) are electric. Intense and committed, embracing the messy, overlapped nature of life, which is something I've sensed in a number of your drawings.

Cute family picture. Bravo. Not so easy.