INTRODUCTION

What defines a “critique”?
Let us start by quickly dismissing some common notions that seem to be held by many members of DeviantART.

“All art is good and should not be criticized…”

…is a myth.

“You can’t critique art, because it’s all subjective in the first place…”

…is false.

Don’t think I won’t let this famous saying unscathed either:  “All your comments should be positive, not negative…”

…is wrong too.  Before you start responding with comments such as “omg!  u suck! u r not kawaii, u r rude!!  eatshitdie," please do not misunderstand what is being conveyed and continue to read on.  These common myths about critiquing stem from some very good notions about how we treat our fellow deviants, but completely ignore the essence of what a real criticism is.  We often take a negative view on criticism, but hopefully we can begin to dispel these notions and fears, and start taking a more positive outlook on critiques.

A critique is an honest, subjective opinion about another’s creative work that covers a variety of issues including, but not limited to, subject matter, representation, and technique, with the intent of: a) assisting the artist in his or her personal development, b) helping to develop the attitude and discerning eye of both artist and critic, and c) beginning or continuing a constructive discourse beneficial to the general art community.  For the purpose of this essay, when I use the words “art” or “artist”, I am including all creative modes, including art, design, and writing disciplines.

The difficulty of making constructive evaluations on DA
It is perfectly understandable if you arrived to a site such as DeviantART, with the intent of improving on your talents and skills, only to end up frustrated with a lack of helpful input.  However, do realize that you cannot reasonably expect to leave constructive criticism on every single piece that appears on your watch list, nor can you expect a flood of critiques on any piece that submit.  It’s just not going to happen – for several reasons:

Firstly, criticism takes thought and time, and making several critiques in one sitting can be an exhausting experience.  Very few people have the stamina and energy to put that sort of investment in every submission they see; by the time you have critiqued [note: not merely commented (i.e. Cool, I like it! 8)  ) ] on even ten submissions, you’re typically going to find yourself very tired.  It is absolutely unnecessary to make a comment on every single submission that shows up on your watch - over time your comments will become redundant, and the effectiveness of your commentary will not benefit another artist. By being selective on not only what you comment on, but how you comment will benefit you, the artist you are critiquing, and DeviantART as a whole.

Secondly, it’s not a requirement or built-in expectation to critique others.  The current version of DA allows us to display our approval with simple commentary or provide an in-depth critique.  We can use this opportunity to strengthen our commenting and analysis skills along to complement the site’s built-in rating device.

Thirdly, there is a general difficulty in developing the ability to give and respond to a critique; it’s not a natural thing for us to do, and it takes time and practice to develop our own critiquing style.  Constructive comments on the internet are particularly difficult because we are forced into a very limited infrastructure to make our criticism.  A recent study by the University of Minnesota architectural program concluded that online critiques often do not meet the expectations of artists because they are typically too nice or general.  In real-world applications, a critique is often simultaneous in nature, with the tangible benefit of eye-contact, voice inflection, body language, and of course, having the actual piece of work on hand.  On the internet, the necessary structure in which we have to offer comments leaves us with a limited dialogue in which we casually consider a piece and type our impression in a tiny text box without the advantage of knowing how the artwork was developed or simultaneous interaction between artist and critic.

However, we should not allow the inherent drawbacks of the internet to restrict our ability and desire to offer and respond to constructive criticism.  Critiques are not always simultaneous, as evidenced in various art, architectural, design, and writing journals, not to mention newspaper editorials.  We are going to take a close look at who we are critiquing, what we can evaluate, and how we respond to constructive criticism.

WHO ARE WE CRITIQUING?

Before we continue, I would like to revisit the “all your comments should be positive, not negative” myth.  Remember, our goal on a site such as DA is to be constructive, not destructive.  Just because you can give positive and negative comments during constructive criticism does not give you a license to be demoralizing towards another member.  The purpose of this website is to build budding artists, not destroy their fledgling ego.  Now, there are appropriate times and places in which you can offer a rude critique, but DeviantART is not one of those places.  If you desire to give scathing commentary, I would suggest becoming a movie critic – my recent favorite was for “Gigli” by the New York Times, “Ben and Jennifer finally get some privacy.”  So keep in mind that there is a definite difference between flaming insults and useful critiques.

Since we’re busy destroying myths, let’s eliminate one more.  Never, ever claim…”This is my objective opinion.” Your commentary is subjective; that’s why it’s called an opinion.  So let’s not pretend we’re being objective in our comments – to stake such a claim is unfair to both critic and artist.  We all have different talents, skills, experiences, perspectives, etc. and it would be counterproductive to deny this diversity.  Therefore, we must be mindful of who we are critiquing when we type our subjective comment in that little text box.

Recognize the variety in the talent, skill, and age

Recognizing the magnitude of our natural born-talent, the skill level to which that talent has been developed, and yes – our relative age, all have to do with not only our maturation level as artists, but also our choices when regarding and integrating the critique of others.  This is the real reason behind the variety in the quality of submissions on DeviantART; we are hundreds of thousands of members at all different levels of artistic maturity thrown together into one website, and suddenly we have to learn how to interact with each other.

For example, it’s simply unfair to critique a fourteen-year old doing her first painting in the same way you might offer commentary to someone who has been painting for fourteen years.  When offering advice, it’s probably a wise thing to be extra-friendly to someone who is younger and more prone to be affected by what you tell him or her.  However, once an artist has reached a certain skill level, they likely have already been critiqued [many times] in a way more brutal than anyone on DA could ever think about doing.  Their skin is simply thicker, and they’ve probably already developed their own personal filtering process for accepting comments, whether it be blind praise or simply rude.  So they’re less likely to tell you “die u bastahd, u don’t know me!” in response to an honest comment.

Keep in mind that the previous was merely an example, not a steadfast rule.  Some fourteen-year olds are not only incredibly talented, but are mature enough to accept a straightforward, honest critique.  There are also people three times their age, with tons of experience, which never learned how to appropriately handle that sort of commentary.  Creativity is a perpetual maturation process that lasts our entire lives and we’re going to perpetually discover one another at different levels during that process.

Realize the difference between fashion and style
Trends affect what we submit on DeviantART, just like any other realm of creativity – when someone receives recognition and acclaim for their work, it suddenly seems like everyone else latches on.  We can place these sort of submissions under the umbrella called “fashion” [a.k.a. “trendwhoreness”].

Fashions are quite transient in nature – one day we love them, and the next day we hate them.  What remains consistent is the substance of style. Fashions may come and go, but it is your style that stands the test of time.  When a creative piece of work possesses style, this means there exists a meaning, content, or substance to the work that supersedes whatever fashion this work may have been detailed in. The difference between fashion and style if a more intangible murky area than you might realize, and often cannot be distinguished without the perspective of time.

But remember, fashion, [i.e. the mass production of a style], is completely natural.  No matter what your creative discipline is, fashion WILL affect it, for better and for worse.  We all have different sources of inspiration and they tend to manifest themselves in our creative works, especially at the genesis of discovering ourselves as an artist.  We’re simply influenced by the people that came before us, not to mention our peers – in creative circles, we call this “precedent”.  This doesn’t necessarily mean that your piece of art should lose credibility or that it wasn’t thought out.  Eventually we develop our own style after many years, and then someone begins to imitate OUR style.  Thus the cyclical evolution of the creative process continues.

When we offer critiques, it’s difficult not allow a fashion of a creative piece to affect our opinion of it.  However, recognizing the difference between fashion and style often takes some experience.  There is actually nothing wrong with claiming that you do not like a certain fashion or style – but we need to learn to leave the issue at THAT, and continue on with our critique on other subjects.  Saying “Awww...Ryu Ku Ku Ka Chu is so kawaii, u did well!” or “If I see one more IR photograph, I’m going to puke, you fucking trendwhore!” are not critiques.  However, stating, “I’m not ordinarily a fan of anthro, but…” and then continuing on with your commentary is okay; just learn how to keep yourself in check.

Rapport between deviants can play a critical role in critiquing

People, especially those new to offering constructive advice, will hold back because they don’t feel that they have the same ability or talent as the artist they’re critiquing or they don’t want to sound imposing; they’re concerned with negative response to their genuine feedback.  We occasionally forget that this is the internet, and there are limitations when we communicate with each other.  Sometimes, when we read what someone else says, things can become lost in the translation.

If you’re viewing someone else’s work for the first time, it’s okay to consider easing up if you don’t know them.  Perhaps offering a limited constructive criticism, or even saying “Cool!  I really like your work”, then explaining why is a good way to introduce yourself.  Establishing a rapport with another deviant makes it easier to engage in honest critiques.  Because of familiarity, the artist realizes that the critic is offering some good, blunt advice and isn’t necessarily “flaming” the artist.

Who we are critiquing is just as important as, if not more important than, what we are commenting on.  Once you feel comfortable in offering constructive criticism and develop a good rapport with other artists, do not be afraid to leave something out because you feel like you’re going to hurt their feelings – remember, a critique is your opinion – positive and negative.  However, it is also important to be mindful that the artist put their feelings into what they did.


WHAT CAN WE EVALUATE?

We’ve considered how difficult it is to make online critiques, and who we are offering constructive criticism.  Now, let’s take a look at what we can critique.  After some experience, you’ll typically discover that the variety of things you can evaluate tend to overlap.

Issues of representation

Issues of representation are generally easier to approach than issues of subject, and is what most of us will tend to comment on.  However, issues of representation are not always so cut-and-dry.  

Medium
You can evaluate the skill level in which the medium has been applied to the art.  Whether it we regard a digital painting, a handmade sculpture, a poetic form, or a photograph, there is undeniably a craft in creating a piece of art.  What do you believe is the artist’s strengths and weaknesses in consideration of the medium?  Do you believe it an appropriate means of expression?  How do you think they could improve the next time they use this sort of media?

Technique
Technique is closely related to, and directly applies to the type of medium the artist chooses to employ.  There are a variety of techniques to use in creating a charcoal drawing, an entire encyclopedia of poetic forms to refer to, and many different ways to take and develop a photograph.  To what skill level and quality have they employed this technique?  Could they have chosen a different technique within this medium that would be more effective to match the artist’s intent?  What are some ways in which they could improve their technical skills?  Are there other artists, on DA or otherwise that they might refer to?

Presentation
How we choose to present a piece of artwork can very much effect how we view it.  For example, photographs can tend to look differently with or without a border.  Drawings look different on a notebook paper than it would on a Canson paper.  Graphically speaking, is the font selection appropriate or could they have picked a better font type?  Are the borders necessary?  If it’s a photograph, was it cropped enough? – too much?  Could a design have been presented in a different or more effective manner?  Was the screenshot the artist selected for their piece of writing appropriate, or even necessary?   How does the presentation influence our opinion of the actual piece of art?

Fashion vs. Style
We’ve already touched on the issue of fashion vs. style, but realize this is also an issue of representation.  Whether it be anime, haiku, infrared photography, or some other current DA, we are forced to consider the piece of art in context of the current fashion.  Was it a good idea or not to fall with in-line with this fashion?  Sometimes it is, and sometimes it isn’t – depend on your viewpoint as a critic.  How have they infused their own style and personality with this fashion, and how effective was it?  If the artwork doesn’t follow a fashion, is it fair for the critic to frame their opinion within the constraints of a popular trend?

Issues of subject matter

Issues of subject matter are much more difficult than issues of representation, because it is typically more personal.  Many representational issues of medium, technique, and presentation often result in commonly held viewpoints.  Tackling subject matter can be a sore point with both artists and critics, but if done properly, can result in quite an interesting discussion.

Every piece of art has it’s own validity and relevancy – internally within the artist, and externally towards anyone who is viewing it.  Sometimes the artist chooses to share the justification for what they have shared for public view, and other times it is a secret.  At the same time, when someone reads or views someone else’s creative work they are themselves impacted.  Whether or not if the creative work is internally driven or designed for mass consumption, one must consider it’s general effect.

For example, someone’s abstract painting can be very personal, yet we may all view what they’ve shared differently among ourselves.  How we critique a personal piece may be different than something else that may be intended for a broader audience – for example, a skin design, a website, or this very article.

Issues of subject are doubly tricky because you are introducing your own personal standpoint on an issue, and you are either concurring or disagreeing with the original statement.  There is nothing wrong with stating your opinion on a certain subject, as long as you are respectful to the stance the original artist has asserted.  Earlier this year there were literally thousands of submissions in regards to the United States involvement in Iraq.  Almost each submission spawned heated arguments in regards to its position, virtually ignoring any issue of representation.  This is the exact situation we do not desire.  There is nothing wrong with debates that result from someone’s creative work – it can make for an interesting discourse.  However, when we allow our opinions in regards to a subject matter completely divert attention from issues of representation of the piece of art itself, we dilute the effectiveness of any true constructive criticism we might offer.  Critique should be based on mutual respect – not condescending attitudes because we happen to disagree.

Other issues

Intent
A hybrid issue that we can consider is exactly how well issues of representation match with issues of subject in one piece of artwork?  Typically, you are looking for some sort of consistency between the two – how did the artist follow through with their intent?  Just how effective was the artist’s technique in regards to a specific medium in communication what they were trying to convey?   Would the artist’s writing have made a better prose or poem?   How would the piece of art look in charcoal as opposed to the being combined with colored pastels?  If the goal of the photographer was to experiment with a certain developing process, how well did they pull it off?  Could the piece of art have been submitted in another category?

Comparison
Don’t be afraid to draw comparisons to one deviant’s artwork and another’s – it’s typically complimentary in nature.  Likewise, comparing a submission to other works within the same artist’s own gallery can be a learning experience for both artist and critic.  It provides the artist an outside opinion of how his or her creativity and skill level has evolved over time.  For the critic, it gives a good way to sharpen his or her own critical thinking skills by being able to evaluate another artist through comparison.

HOW DO WE RESPOND?

We haven’t covered everything you could possibly talk about when critiquing another person’s work, but for the intents and purposes of DeviantART, we’ve made some pretty decent coverage.

So, okay.

You’ve just been critiqued.

How do you respond?

By now, it should be obvious that the statement, “It’s all about the artist, how they feel, and why they did it,” varies as much from submission to submission as it does from artist to artist.  Remember that critiques are not only beneficial to artist and critic, but to the art community in general.  So likewise, how you respond is going to equally vary.

Let’s be real about this: sometimes we are going to feel elevated by a critique – and other times, a constructive criticism can hurt our feelings.  On one occasion you can receive a glowing comment on something you’ve spent an hour on, and then receive a negative evaluation on something you’ve worked several months on.

Welcome to the creative real world, bucko.  It’s an unavoidable fact of life, and is something that we, as artists, need to learn how to deal with.  When you select the “submit” button, you, of your own free will, are sharing your creative work with the world, and in return, the world is going to respond to it – positive, negative, and indifferently.  It’s the risk we take anytime we share our work with the general public and like anything else, how we consider the response of others is our CHOICE.  

Whether you agree or disagree with a critic’s comment is your CHOICE.  Whether you integrate someone else’s critique into your future work is YOUR decision to make.  All a critic is doing is offering their [hopefully] informed opinion and suggestions.  Some artists completely disregard other people’s opinions, and others take everything that other people say as unvarnished truth.  In my opinion, the best way to go about considering critique is somewhere in the middle of these two extremes: always take comments with a grain of salt, respecting and appreciating that the critic is coming from a different perspective that you may not have considered before; then selectively choose what you will or will not attempt to do in the future in this regard.

It’s also okay to bring up that old trusty comment box and respond to your critic in kind in the same respectful manner that you have hopefully been treated.  These often evolve into intellectual debates or general discourse that will help artist, critic, and the art community.


CONCLUSION

Like any other skill, the ability to accept and respond to critique doesn’t necessarily come right away – it takes practice.  Recognize that everyone eventually develops their own style of constructive criticism.  When you make your comments, understand your own strengths and weaknesses in terms of expertise with what you are critiquing.  Even if you’re not entirely knowledgeable or familiar with the art form does not exclude you from making an informed statement.  Never be afraid to speak up – remember, you are bringing yourself to the table just as much as the artist is in expressing their work.

The advantage of the critique lies in that we can take a variety of people with all sorts of natural talents, skill levels, and maturities, and improve ourselves not only on an individual basis, but also to DeviantART as well.