How to Critique Your Peers' Art Work
Get your group together., Hang the work evenly, tack all curling corners down, make sure nothing is in a shadow, or partially hidden., Always begin with a positive statement about the work., Try to indicate one or two things that jump out that...
Step-by-Step Guide
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Step 1: Get your group together.
Getting started is as simple as agreeing to hang work to look at it and comment on it. Â Pass this article around so everyone understands the basic rules.
Remind artists that no two people could ever do the same work we are all unique in the way we paint, our marks, like our handwriting is our own.
So, there is no fear of somebody copying your style.
Reiterate that being competitive is not productive; we are where we are as artists on that day in our journey.
Some are bound to be more skilled, but each and every person is an equal. -
Step 2: Hang the work evenly
People who have to leave early get to go first.
Older work may be hung, but it will get attention only after the new work is critiqued.
No finished pieces can be critiqued, because once the artist says, "Finished" there is nothing to change. , Â You will be offering your thoughts and opinions about what you see before you, so always begin with, "In my opinion," or "To my mind." Â General statements such as "I like it" or "It's nice," are meaningless, so try to isolate what works for you and be specific. Â Be sincere, above all. , Â Avoid picking the piece to death. Â Use the positive voice and be specific. Â Keep it brief and try not to repeat what others have already said. Â If you have nothing to say, simply pass. , Ask yourself these questions when faced with giving a critique of an artwork or when viewing a work on display at a gallery, museum, or in a book.
What is the most striking thing about the work, what pulls me in from across the room? Can I sum it up in a sentence? At what point do I enter the work, how is my eye led around and through it? Is anything leading acting as a directional sign to lead the viewer's eye out of the piece? How important is the medium or technique? Would I do it differently? How is the medium used, could I duplicate it? How much help is the title? Does it fit the piece? What, after a time away, floats back to my mind about the piece? , Line/Movement, straight or curved.
Space, negative or positive, mass versus emptiness.
Hue/Color, primary, red, yellow and blue, secondary, green orange and violet and tertiary, yellow-green, blue-violet, red-orange.
Colors can also be analogous or next to each other on the color wheel, Complementary or opposite each other on the color wheel, or other combinations.
Chroma is the intensity or brightness of a color.
Value, the pattern created by lights and darks, Texture, the surface quality of objects as interpreted by sight or touch, for example, rough, smooth, soft, hard, etc. , Dominance, one element having greater importance, Gradation, closely related qualities organized progressively, in a logical sequence, Harmony, those elements that are similar, Variation, a thing made different from the others present, Repetition, the act or process of repeating again and again, Unity, the quality of oneness, a complete unit. , However, keep in mind that sometimes, just hearing "gut reactions" Â is best.
People will be offering their opinions on the work, but you are in charge of what happens eventually---if anything.
It's your work and you are under no obligation to make changes. , If something cuts too deeply, let it all go for a day or two and you will gain perspective and your confidence will return.
Do keep putting up your work.
Seeing it along with others' is an education in itself.
You'll cross pollinate ideas and get new ideas for directions to explore. , You are there to listen not argue, defend, or describe. Â People are reacting and commenting on what they see, at that moment, before them, not what you intended to do or how you plan to alter the piece.
Do ask for clarification, if you need it.
Thank people for their time and interest in your work. , Put the piece away and after time passes, you will be able to be your own judge. , -
Step 3: tack all curling corners down
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Step 4: make sure nothing is in a shadow
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Step 5: or partially hidden.
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Step 6: Always begin with a positive statement about the work.
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Step 7: Try to indicate one or two things that jump out that aren't working
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Step 8: could use improvement
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Step 9: refining or changing.
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Step 10: Become a more savvy and informed viewer of art.
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Step 11: Refer to the Elements of Design in talking about a piece: Form/Shape
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Step 12: such as geometric or free form.
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Step 13: Refer to the Principles of Design and how they are used in the piece: Alteration
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Step 14: repeating in a definite pattern
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Step 15: like wall paper
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Step 16: Balance
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Step 17: formal and informal
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Step 18: Contrast/Conflict
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Step 19: refers to "the opposite of" such as light/dark
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Step 20: rough/smooth
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Step 21: soft/hard
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Step 22: If you have a question
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Step 23: begin by asking the group to focus on it.
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Step 24: Be open to the thoughts and ideas generated
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Step 25: but don't let others' opinions deflate your enthusiasm.
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Step 26: Be silent.
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Step 27: Get past the fear of hard work
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Step 28: sometimes
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Step 29: especially with watercolor
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Step 30: you will need to do the piece again.
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Step 31: Pay close attention and you will learn almost as much from what is said about others' work as your own.
Detailed Guide
Getting started is as simple as agreeing to hang work to look at it and comment on it. Â Pass this article around so everyone understands the basic rules.
Remind artists that no two people could ever do the same work we are all unique in the way we paint, our marks, like our handwriting is our own.
So, there is no fear of somebody copying your style.
Reiterate that being competitive is not productive; we are where we are as artists on that day in our journey.
Some are bound to be more skilled, but each and every person is an equal.
People who have to leave early get to go first.
Older work may be hung, but it will get attention only after the new work is critiqued.
No finished pieces can be critiqued, because once the artist says, "Finished" there is nothing to change. , Â You will be offering your thoughts and opinions about what you see before you, so always begin with, "In my opinion," or "To my mind." Â General statements such as "I like it" or "It's nice," are meaningless, so try to isolate what works for you and be specific. Â Be sincere, above all. , Â Avoid picking the piece to death. Â Use the positive voice and be specific. Â Keep it brief and try not to repeat what others have already said. Â If you have nothing to say, simply pass. , Ask yourself these questions when faced with giving a critique of an artwork or when viewing a work on display at a gallery, museum, or in a book.
What is the most striking thing about the work, what pulls me in from across the room? Can I sum it up in a sentence? At what point do I enter the work, how is my eye led around and through it? Is anything leading acting as a directional sign to lead the viewer's eye out of the piece? How important is the medium or technique? Would I do it differently? How is the medium used, could I duplicate it? How much help is the title? Does it fit the piece? What, after a time away, floats back to my mind about the piece? , Line/Movement, straight or curved.
Space, negative or positive, mass versus emptiness.
Hue/Color, primary, red, yellow and blue, secondary, green orange and violet and tertiary, yellow-green, blue-violet, red-orange.
Colors can also be analogous or next to each other on the color wheel, Complementary or opposite each other on the color wheel, or other combinations.
Chroma is the intensity or brightness of a color.
Value, the pattern created by lights and darks, Texture, the surface quality of objects as interpreted by sight or touch, for example, rough, smooth, soft, hard, etc. , Dominance, one element having greater importance, Gradation, closely related qualities organized progressively, in a logical sequence, Harmony, those elements that are similar, Variation, a thing made different from the others present, Repetition, the act or process of repeating again and again, Unity, the quality of oneness, a complete unit. , However, keep in mind that sometimes, just hearing "gut reactions" Â is best.
People will be offering their opinions on the work, but you are in charge of what happens eventually---if anything.
It's your work and you are under no obligation to make changes. , If something cuts too deeply, let it all go for a day or two and you will gain perspective and your confidence will return.
Do keep putting up your work.
Seeing it along with others' is an education in itself.
You'll cross pollinate ideas and get new ideas for directions to explore. , You are there to listen not argue, defend, or describe. Â People are reacting and commenting on what they see, at that moment, before them, not what you intended to do or how you plan to alter the piece.
Do ask for clarification, if you need it.
Thank people for their time and interest in your work. , Put the piece away and after time passes, you will be able to be your own judge. ,
About the Author
Shirley Cooper
A passionate writer with expertise in home improvement topics. Loves sharing practical knowledge.
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