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  1. #21
    philosopher wood nymph greenfairy's Avatar
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    I used to be really defensive with criticism because I associated it with value judgment (both my parents are really judgmental). When I finally learned to separate the two, life got a lot easier and now I take criticism well. The above posters are right, you just have to separate the personal from the impersonal. I'm still a little sensitive at work, because I know my performance matters there; what people think of me and what I do has an impact on my future and job security. But I've learned that at work it is totally impersonal, and to just look at whether what they are saying is true. I know being an artist isn't the same as working in a restaurant. But remember, critique is always what someone else thinks. It will always be subjective. The nature of art is to appeal to people's preferences. How well you meet certain goals (such as realism or good composition) with it is kind of objective, but once again it is someone perceiving that. Their subjective perception might enable them to see something objective about a piece that you miss, and depending on whether a lot of people perceive the same thing your art might be considered "better" or "worse" (along with people's personal preferences). But in the end you have to decide 1) how well does this meet my goals and how much do I like it, and 2) does it have the desired effect on people. Also remember that often people find negative things to say because they're jealous.

    I am an artist too. I don't do much visual art anymore, but when I did I actually don't remember many critiques. I was used to getting compliments and positive feedback. When someone would say something less than positive I tended to think either they must have a point or they were biased in some way, and that's what I think now. My version of perfectionism is my art not accurately reflecting what I see in my head; which is good for not being sensitive, because I can look at the art as an object. It doesn't really have to do with me. What is in my head and my unique talent is mine, but that's not what they are seeing. They are seeing my attempt to put that into reality. And if I didn't succeed, oh well, I can do it differently next time. I always just evaluate what they are saying and decide whether i think it is true. If not that's just their opinion. If so, it is helpful.

    FWIW I like your art. I don't know what the particular goals for it are, so I can't say whether it meets them. Obviously it isn't meant to be entirely realistic, so I don't see the point in looking too much at that. The only point there is that in the first one the leaves of the tree kind of look the same as the background and it is not obvious they are part of the tree. But this is really not important to the overall effect of the picture, so I wouldn't obsess over it. I actually think the anatomy is good, for being animation style. Nothing stands out at me as being off. Your style is cool. I like the bunnies. And I like the way things are not exactly what the viewer expects.

  2. #22
    @.~*virinaĉo*~.@ Totenkindly's Avatar
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    Quote Originally Posted by Fluffywolf View Post


    I will take your critique to my heart and attempt to improve my English in the future. (Like tomorrow, or the day after. )
    Oh, sorry, I meant to say you have a pretty crabby grandma.
    "Hey Capa -- We're only stardust." ~ "Sunshine"

    “Pleasure to me is wonder—the unexplored, the unexpected, the thing that is hidden and the changeless thing that lurks behind superficial mutability. To trace the remote in the immediate; the eternal in the ephemeral; the past in the present; the infinite in the finite; these are to me the springs of delight and beauty.” ~ H.P. Lovecraft

  3. #23
    Bunnies & Rainbow Socks Kayness's Avatar
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    @Orangey - you're right, at this moment in time there's a disconnect between what I know in theory and its application. I'm currently sitting it out right now. Basically I want to be harsh on myself precisely because hearing the same thing from others is even worse. The fact that it's from somebody else, even if the message is the same, changes the impact entirely.

    I think @Jennifer's got it :P

    @wolfy - oh that's hardly enough for me to want to take revenge on somebody! They mean well!
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  4. #24
    failure to thrive AphroditeGoneAwry's Avatar
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    I think your work is awesome.

    I wouldn't seek out, nor even read critiques, if it were me.
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  5. #25
    Dreaming the life onemoretime's Avatar
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    The toughest thing in my experience is learning how to tone down your self-critic. It may seem like that it makes sense to try and anticipate the criticism that you might receive, but it rarely works well - you're so depleted of resiliency resources from your own internal critique, that there's relatively little there to handle what's coming from the outside.

    Something you might take into account is by what authority you are recognizing the validity of the criticism. When you recognize this, it's easier to separate the useful comments that arise from the critic's knowledge from those based on either personal preference, or relative lack of knowledge.

  6. #26
    Administrator highlander's Avatar
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    Quote Originally Posted by Kayness View Post
    Critiques that I got so far:
    • too many clashing/bright colours
    • too flat
    • not enough values (greyscale)
    • anatomy is my weak point
    • lack of focus
    • perspective not quite right

    So, I asked somebody whose opinion I trust and she said there is validity to all of those points (in different pictures). She said they are really good though and better than she can do.

    Please provide feedback on my Nohari and Johari Window by clicking here: Nohari/Johari

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  7. #27
    Freaking Ratchet Rail Tracer's Avatar
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    @Kayness

    Better than what I could of ever done, actually.

    Critiques, no matter how great they are, hurts. But that is how I go about them, critiques help me become a better drawer and notice other discrepancies . The more critiques I have, the more I can notice these mistakes for future reference. So it allows me to train my eye, which is a good thing. The more critiques that I can get, the more that I can learn to improve on myself. So, a critique is better than no critique (because it means I don't get to improve.)

    I've taken some art courses for a few semesters now. I often give my professors headaches to the point that even they know that I have a person inside my head that seems to like to overly self-critique. They like to joke that I am overly harsh on myself. It took me until the end of the semester to notice the difference between the first drawing to the last drawing. Believe me, the professors hammered the flatness aspect on me until the end of the semester. After that, I noticed a dramatic change in how flat my drawings used to be and how it was at the end of the semester.

    What often occurred is that I'll ask if the person noticed if anything was off. If they've told me that it was flat, I would ask them where in the drawing is causing the flatness? So a good explanation from the person doing the critique would give me lots of good information. That said, it is a give and take. They explain and I'll keep talking with the person until I know what is exactly causing the problem. If I can make the drawing pleasing to the viewers, than it would be good.

    I did quit drawing after that semester, however (my mindset does not allow me to draw without stopping half-way without critiquing myself to oblivion.)

    Anyways, I don't know if I should critique or not. There are two drawing I notice some things that can be improved on (can give you that information as it pertains to flatness., if you want) But an advice to combat flatness is to make sure an object you intended for the back do not intermingle with the colors in the front.



    This means:
    This, will often times be pulled forward
    While this will often times be pulled backwards when compared to the first.

    This, will be pulled the most back.

    If your drawing contains both:
    This for the front
    And this for the back

    They tend to flatten the piece.

    A darker background with a dark foreground tends to flatten the piece while a light background with a dark foreground tends to pull the foreground close to you while move the background back.

    Take care to notice those in your drawings. I can help point out which of the drawings I am talking about (at least the ones I've noticed that has this effect.)
    Last edited by Rail Tracer; 07-03-2012 at 03:11 PM.

  8. #28
    Bunnies & Rainbow Socks Kayness's Avatar
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    @AphroditeGoneAwry - thank you! Well, thing is I know there's always room for improvement, and getting very honest critiques is part of that I guess. A third party perspective is always useful. I know I need it from time to time but I guess I wasn't as prepared to take it as I thought.

    @onemoretime thank you! I've been thinking it over and there are a lot I agree with and there are some that I don't because I think it's critiqued from a personal preference, e.g. the colours. Some people just don't really like colourful stuff but I do and I think it works for the purpose that I intended.

    @highlander thank you so much for that!

    @Rail Tracer - I think it's the Invasion (the motorbike race through bunnytown pic) right? I can see that as well.
    9w1 4w5 5w4 sp/sx RCUAI
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  9. #29
    The Iron Giant
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    @Kayness

    You are already more than good enough. Not just for me, but for clients, repeat customers and new ones alike. They all love your work and are happy to pay you for it! You are a success in the only truly objective way a professional artist can be. Even the first critic said so: he doesn't know your genre, if it's getting you paid, then you're good. That's the key point of all of this since you're doing this professionally! You're impressively skilled and versatile. You have clients you color for, clients you illustrate for, you work in various styles in various media, including mixed media, and you consistently produce great results. You're impressing more than just me. You impressed many people on PerC. You impress people on Tumblr. The audience loves it. Even your critics like it, they just are equipped to tell you where you can improve. And we can all always improve. Don't let your doubty inner voice overwhelm the irrefutable facts: that is that you are a success and an amazing artist.

  10. #30
    Freaking Ratchet Rail Tracer's Avatar
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    Quote Originally Posted by Kayness View Post
    I think it's the Invasion (the motorbike race through bunnytown pic) right? I can see that as well.
    Maybe, but that isn't the one I am looking at. That one is definitely busy though. Can't exactly comment on all but 2.

    The ones I am talking about are a bit more subtle. #3 and #5.

    For #3, there is an illusion going on with the bunny with the binoculars. My mind is telling me that it is at around the same distance as that lady, but the dark brown shadow is really trying to pull the bunny forward, almost as if the bunny is right on top of the hunter's arm. That shadow of brown wants to compete with the hunter's arm because it is one value while the hunter's arm is more than a few. That same dark brown is also a bit close in value to the dirt in the foreground. It tends to want to push forward to the distance of where the dirt is, especially when they are similar.

    #5 is also subtle. I definitely see the space. The problem I am having is at the bottom left corner. That corner seems to want to meld with that giant mountain (though my mind is telling me that that is a floating island that is separate from the big one.) It is a similar to the problem in #5 in that the color values are a bit too close together, sort of making the objects look closer than they were intended. The way to fix that is to lighten the shadow on the big mountain, or darken the shadow on the floating island. It would definitely seem easier to lighten the shadow on the mountain, however.

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