How to give out useful art critiques

Part two What’s the best way to helpfully comment on another artist’s work? Tom May asks industry experts for insight and advice

Working as a professional artist, you’re often asked to critique other artists’ work. But as we noted in last issue’s article on how to receive a critique, no one likes hearing negative views of their art. So how do you go about it? While diplomacy is key, soft-soaping the truth is not an option, says Sarah Robinson, creative director for Paizo in Seattle, who regularly reviews other artists’ work at conventions. “Hearing the truth is what helps,” she points out. “We all want to get better, and if we’re told that we’re awesome all the time, then there’s no chance of going to the next level.”

Dave Rapoza, an artist for games and films who’s just launched his own comic, entitled Steve Lichman, agrees. “You don’t do anyone a service by holding back,” he says. “People are looking for someone to be honest. Remember, they’re asking for critique. If they want compliments instead, they need to make that clear.” Neither, though, should you simply spit out your own personal views of the work, says

Loïc Zimmermann, art director of MPC and a teacher at Gnomon. “It’s not about you and whether you like the art or not. That’s not relevant,” he explains. “It’s about what is the

artist trying to do, and how well they’re working towards that goal.”

“A critique requires you to do more than just look at the art; it’s about understanding the ambitions behind it,” agrees American artist

Daniel Warren, who’s recently been working with Dave Rapoza on Steve Lichman. Daniel used to critique artists regularly online via Livestream and Twitch, and still does so for those who reach out via email. “I typically try to first identify what field they’re trying to get into,” he explains. “Concept art? Book illustration? Comics? And then I frame the crit around the needs and requirements of getting into that field.”

This way, there’s a better chance of your critique hitting home, he adds. “It shows them that you actually took the time to observe their work and aren’t just giving them the boilerplate responses you give to everyone who asks for help.”

Give yourself time to reply

Drew Whitmore, a principal artist at Atomhawk, agrees that taking your time is key. “Don’t immediately jump into critique,” he advises. “Looking at their image a couple of times, with some time in between, gives you a better view of what the issues are,” he advises. And try to be constructive rather than just narrowly critical. “Always try to have a proposed solution,” Drew stresses. “Point out what you think is wrong and why, and then what you think they should do about it. If you don’t have a solution off-hand, it’s good to discuss it with the artist, and ask them a bunch of questions. Often, they’ll think of a good solution themselves.”

To make sure you don’t slide too far into negativity, Daniel recommends the ‘crit sandwich’. “The formula is ‘positive, negative, positive’,” he explains. “It’s very important to remember that critique is not just negatives. Identifying what works, and the strengths, is equally important. So,

I frame the crit around the needs and requirements of getting into a certain field

for every two areas of weakness, try to find an area of strength. For example: ‘The anatomy could use some work; specifically the proportions in the arms. The costume design is really great, though – it’s unique and makes the character pop. Maybe bump up the lighting so that it showcases the outfit more.’”

Agreeing on crit limits

Loïc adds that it’s important from the outset to clarify with the artist exactly how open they are to criticism of their work. “So I usually ask: ‘How far do you want me to go? Are you done with it and are asking politely, but ultimately you don’t want to change a thing? Or this is something that you really want to improve?’ I think that’s a good place to start.”

Bear in mind that there’s no ‘right’ answer here: yours is a second opinion, not the be-all and end-all. “Apart from the low-hanging fruit around fundamentals, such as perspective, anatomy and lighting, a lot of stuff is very subjective,” points out Drew. “With client work it gets easier because, hopefully, there’s a clear direction coming from the client.

“With personal work, though, you need to consider where the artist is wanting to go. You can refer to other creatives who are successful at the thing this particular artist is trying to do as a jumping board for your feedback, so they know you’re not trying to take them some place they don’t want to go.”

Think big, not small

It’s important, too, to not get bogged down in details, says Daniel. “Stick to the three main problems you see in the work rather than overwhelm the person with every little thing you believe is wrong,” he advises. “This serves to make the artist you’re critiquing focus on the big, important issues and keeps them focused.”

Above all, remember you’re talking to a human being, so address them in the same friendly manner you’d like to be addressed yourself. “It’s not just about what you say, but how you say it,” says Dave. “The important thing is to convey why something isn’t working and how to improve it; you don’t have to be nasty about it. It’s basically balance between the two people; both need to be sensitive to each other.”

And Loïc is a great believer in a lightness of touch. “I think humour is something that works for everything in life,” he says. “I start my class with anecdotes every time; it’s like a way in. And you have to talk passionately about the good stuff. Then it’s easier to say to them: ‘So here, why did you screw it up? These parts are a very interesting direction, but you need to follow it the entire way through.’”

Concept art for Injustice 2 by Drew Whitmore. “Peer feedback is invaluable as everyone loses perspective on their own work,” says Drew

“A critique shouldn’t be just one way,” says Loïc Zimmermann. “It’s a dialogue.”

‘If something isn’t working, you must say so clearly. Then you can start to be constructive,” says Loïc Zimmermann. Sarah Robinson art directed David Alvaraz on this piece for the RPG Starfinder. “I generally ask the person what kind of critique they’re looking for,” she says. Image created by Dave Rapoza as part of a tutorial. “If the artist argues back, do listen, because they may change your perspective,” says Dave.

Art by Drew Whitmore. “Being able to give crits as well as receive them helps make both easier,” he says. Starfinder art by Setiawan Lie, as directed by Sarah Robinson. “At Paizo, I look at anatomy and composition first, then creativity,” says Sarah.

Leon Tukker took direction from Paizo’s Sarah Robinson for the Starfinder project. “All visual media are open for criticism,” she says.