As with all submissions, self analysis is good - but should not be included in your submission, simply because it can only serve as a distraction for the one critiquing your work. At the end of the day, questions are fine, but the only thing that should influence our feedback is looking at the work, and allowing it to speak for itself.

That said, I should point out that what you wrote wasn't really effective as self analysis, as it's entirely biased towards perceived weaknesses. If you're not spending time identifying your strengths, you're not giving yourself a fair assessment. That's not just a "be kind to yourself" sort of thing - you're quite literally lying to yourself, and playing the role of an untrustworthy judge. It's a common issue - students overvalue criticism and disregard the rest - and it leads to a skewed sense of where one's skills actually lay, making it harder to really understand where to push in order to continue growing.

Anyway - jumping right in, to start you've done a fantastic job in the construction of each of these wheels. Not only did you construct each cylindrical structure with care, being sure to include a subtle widening through the midsection to create an impression of an "inflated" structure, but you also took great care in constructing the rims/spokes for each wheel. This is often quite challenging, as it requires us to carefully space things out, to consider the different faces of fairly small structures (like the fact that our thin spokes have both front and side planes to them, which are critical to make them feel three dimensional) and so on.

When it comes to the tire treads however, while you've done a great job of identifying each individual form along the surface of the wheel, you have however run into a trap. Being that we're as far removed from Lesson 2 and the texture section notes as we are, it's very common for students to largely forget the principles of explicit vs. implicit markmaking, and so they will often end up outlining each and every textural form, working strictly in explicit marks as you've done here. This challenge in many ways serves as a reminder to review that material, and to refresh one's memory on why working with cast shadows instead of outlines is so critically important.

Now, each of these wheels in isolation looks great. They're visually busy, sure, but they are interesting to look at. What if, however, we placed one of these wheels into a vehicle drawing? With all of the visual noise of the given tire tread, you'd end up with a focal point there, whether you wanted one or not - and it's often unlikely that you'd want to specifically draw the viewer's eyes to the tires. Working implicitly - that is, conveying the presence of these textural forms only through the shadows they cast on their surroundings gives us control over how densely packed and how attention-grabbing a given section of a drawing might be. As you can see here (it's not a tire, but these bush viper scales work quite similarly), by controlling just how much the cast shadows expand or contract (by effectively ramping up our light source or easing up on it), we're able to work with fundamentally different mark densities, without actually changing the specific forms that are conveyed to the viewer. Of course, the most important part of this is to ensure that we're not outlining any forms, as outlines trap us into drawing everything in its entirety, falling back to the issue of simply having too much visual noise.

So - be sure to keep that in mind, and brush up on the texture section before continuing on. Of course, as this is an entirely normal issue that I expect to see from students, it isn't something that will require revisions. Just a friendly reminder.

I'll go ahead and mark this challenge as complete.