How to critique yourself

Part of being able to critique oneself is detachment. It is very easy to get caught in the “masterpiece syndrome” and to invest too heavily in your work from an emotional standpoint. For me, the critique is from start to finish. It is looking critically at the subject and composition. I spend a great deal of time on this, judging value and color to make the strongest impact I can. After that, it is easy. The painting, mixing color, applying paint is easy for me, effortless and extremely pleasurable, so much so, I lose myself in the process. That is not entirely correct, I give myself over entirely without a single thought to the finished product, and so begins my detachment. I am a process painter and the only thing about a painting that interests me is the process. Once it is done, it is no longer my “baby” and my emotional investment is over. At that point, I can look critically at elements of the painting and do it with a fresh eye. I am so zoned in my process that 24 hrs after completing a painting, I don’t remember much of the process and I am free to look for my mistakes, which are obvious to me. Critique then becomes an academic pursuit, going over what I know to be correct, versus what is not correct in my work, and making plans for future pieces, learning from my own errors.

Robert, This is something I see-saw on constantly. When doing commission work I pour the critique on heavy but these last few years for my private stuff I have modified self-critique to the degree that I allow myself the room to operate more playfully or with less directive critique. I suppose another way of trying to say what I mean here is that I just set a piece of work down and get after another figuring the “path” or trajectory of many pieces is what creates new mind space for me. That I’ll find a freshness if I don’t worry it to death. Just carry the flow forward trusting my instincts which include my naturally harsh appraisals of work already done. It seems to be paying off lately though the “path” is an unending involvement. I see things in the last piece I will include/alter/add in my next work hopefully without clogging my awareness with tricks…with any good fortune. I am striving for a more natural and personal expression in what ever way it may appear and do not attempt to make something ready for show anymore. Well, unless it is a commissioned piece of course. I suppose in a way I have removed myself from the Art Market and am enjoying a more personal way these days when not doing murals, etc. Of course removing myself from the Art Market was rather easy in these times (around here anyway) since the market seems to have evaporated anyway. I haven’t even tried galleries for years now. Plein air work has been such a natural thing to follow…now and then one sells off the easel. Minimalistic life style with the freedom to not bother with the gallery game has been liberating. I think when one is ready to commit to just squeezing the tube and painting with full intention one finds that is all one needs for growth to occur. But how this would work without decades of concentrated immersion in painting I have no clue. I don’t know what others think about my path but then that is not my concern either. I suppose I could upload some of the new stuff and find out…I will get around to it. charles peck…charlespeck.com

I frequently use a mirror to look at my work in the reflection. This helps me see problem spots. Also, taking a photo of my work helps me to see my work at a more removed viewpoint. I try to not make hard and fast decisions about each piece for at least a week. I let the work rest, put it away or turn it to the wall and come back later with fresh eyes. Hope these tips help in your self critique.

I agree with you on the value of looking at great works of art in books and museums. I learn from looking at art on the web as well as visiting galleries and museums. I learned a lot about painting light and shadow from John Singer Sargent. Last summer in Milwalkee, I saw some amazing contempory artists’ work that made me rethink texture in my work. Constantly learning and growing is part of my self-critique method.

Dear Robert, This can be why being in school can be a good thing. This is where you build your voice of reason. You bond with other students and follow along their journey, as they follow yours. Sometimes other students can be the best guide for your work. Instructors have their voice too, but another student is your pier. Starting with a sketch book is the best way to begin a piece of art. Scribbling down how you came to the conclusion and what you want to communicate as an artist is so important. Artists need to resolve to the fact that 90% of the population, won’t like their work. Nor is everything going to be a masterpiece. Working beyond what you know is crucial for being truly creative. I remember in art school at a critique one fellow student kept doing the same dull figure work. The thing about it was she drew the ribs going the wrong way and because she claimed to not be able to draw hands of feet, she didn’t add those either. After a semester of looking at these ridiculous figure images, I told her she needed to actually take an anatomical drawing class and learn more about this subject if that was the direction she was going in. She got very upset and said I was mean for saying what I said. I just shook my head and said I was only a fellow student and we were both on the same page. If she didn’t like what I said, good luck with a real critic. I hear what people say about my work all the time now. The best critique for me, is when people buy something. John Ferrie

Robert, you hit the nail on the head with this one. Self critiquing is a major issue for most painters. And, I have to admit that my self critiquing skills are not as solid as I would wish them to be. Art chatroom friends supplement my critiquing and frequently help me notch my works up a level. And, I find that when I take digital pictures of my work, and download them, I can often see where I need to make changes. My greatest enemy is my “rush for glory”. When I finish a work, I fall in love with it and am excited by it, and I throw it up on my webpage, and show it to my family- and a day or so later I come to regret my premature actions. My best ally is time. When I put a painting away and return to it six months later, its as if I never painted it. Experience has taught me that my end game is insufficient. I lack the vision of needed to adequately finish my works. When I take earlier painting that I haven’t looked at in while, I see it with fresh eyes. In most cases a few minutes of intuitive brushwork, gives it its finishing sparkle.

Frederic, I hear you. I am also always in perpetual rush to get there before I get there. I think it’s a matter of temperament and in some cases it will do good for you. We just have to learn to weight the risks. In any case your friends will love you the way you are, and you collectors will love your uniqueness as well.

When I reached a “stopping point” while painting, coming out of that trance, I would light a cigarette, sit back and look at my work. I quit smoking a year and a half ago. God I miss it.

Your VERY “insightful” and delightful musings continue to shine a light beyond our artistic cobwebs….Thank You!

I would change the list instead of the last suggestion- “Look at your art as though it were done by the artist you most admire.” A lot of us don’t have worst enemies, luckily–at least that’s what I think. We might have jealous friend artists, but is that an enemy? Is that what you mean?

I find that some of your list has become unconscious for me over the years, it’s good to see them enunciated. For myself the self critique is unconscious. I work and work on a piece and then say *it must be done*. I leave the work on the easel for a number of days, sometimes weeks and view it at all times of day, and all distances, most critically in the morning when I’m not in the mode for art at all. If the work retains it’s original *snap* I’ll consider it complete, and place it against the wall. Sometime later in the month, after completing other works, I’ll turn the work under consideration around and set it next to one that I am 100% sure makes the grade. If it holds up to the other work then I’ll sign it and forget it. I do work from a list in my head. Elegance Balance Snap The best at this moment in time.

Criticism and Judgment. You hear it in the gallery. You hear it at home. Everything is subject to it. Starts in school. We get graded and soon learn, that is a proper profession — grading. And when it comes to Art, every piece gets it. Judgment Day. Go to a Gallery and listen to the speech inside the heads of “visitors”; the viewer looks, an opinion forms, instantly its onto the next. The minute judgment strikes, interest is lost, move on! You enter the contest to get art judged. You ask for an opinion to get art critiqued. Which way is right, easier, better, quicker? Who does it best? How much of it is instinct? How much is educated or talent? How do you know, they know what they are doing any way? You be the judge, be the critique of self. There’s always a time when one will stump you! Interest is not lost, the mind is glued in its view. “don’t know what it is about this piece….” And a description arises out of nowhere, maybe from the heart.

Is it finished yet? When I’m teetering on the edge of overworking a painting and constructive improvement, I have found that taking a photo of the piece in question, then downloading it into my iPhoto really helps. There is something about viewing it on a screen that creates necessary separation and instantly points out what needs addressing.

One tool I have found invaluable in critiquing my work is to not look at it much for a few days. Once I think I’m finished I’ll put it facing a wall or in the corner of the studio where I won’t really see it. Then when I pull it out again I bring it into the living room where I can walk quite a distance away from it and see it with fresh eyes. This helps me see if it reads as well from a distance. Also looking at it in the mirror and upside down and finally when I photograph it and look at it on the computer. All of these tools help me see things that I wouldn’t if I was looking at it constantly from arm’s length.

I found this article very interesting and useful. I am a relatively new ‘artist’ painting just over 2 years. Before I knew enough to ask myself some of the questions that you pointed out, I would ask myself one simple question-and still do: “Is it frame worthy?” For some reason, that one question inspires me to better critique my work honestly-of course, I am finding that the more I learn, the more I realize I don’t know.

Answering to the self critique, I sometimes use a red cellophane sqare, the quilters use to look at my finished painting, it shows the distribution of lights, darks and mid-tones. It is just a tool, but when you do not have contrast, it shows up!!!

Sometimes I am so engrossed on my own work and forget to think how it will appeal to an onlooker. Sometimes I fail to consider various considerations that make a work more believable like color values and hues,depth of field and making a figure three dimensional. Shading is also a problem of mine. I will take more time to really look on my work to improve it and to know when to stop.

Your insight and experience have helped me over the years be a better gallery and gallery owner too! Thank you.

I have always found that my best work is the one I am working on right now! The rest are just a lead up….lessons…they never stop. Preciousness is not allowed.

The judging of a work.. Fine Art Once an artist reaches a place, self critique is very valuable – if other thoughts are put in to the mix it can disrupt the direction. Helpers should not take offence to this as it is nothing personal just…another way an Artist individually grows ( i.e. vaulted efforts) Graphic Art The Judging of the work lies in the hands of who is paying the dollars.

I always pass on to my students is when in doubt of what you are painting hold it up to a mirror. Any wrong values, composition etc. will pop right out at you.

I like your critique list items and will incorporate them into my own gaze. I also like your choice of quote. Prosper. If you don’t share our Thanksgiving, find a lot to be thankful for anyway.

I have a sign in my studio that says/asks, “Where is your 50ft voice?” When critiquing myself, I also ask, “Why are you painting this? What are you trying to say? Who are you painting it for?” All of these assist me in being a little more objective as I assess my creation. Does this help?

Sometimes while painting, I find myself giving up, saying, I can’t do anything with this. It’s a forlorn feeling. Later– since I mostly paint en plein air– back in the studio, I’ll look at the work with more distance, and see it for what it is– or come as close to that as I’m able. About a third of the time I find myself satisfied, and I’m surprised. The other two thirds get wiped down, or tossed, after a few days of trying to figure out what went wrong. (Usually I find that the problem is in the process, and can isolate it, at least in general terms. That’s as good a critique as I can do on my own.)

I have never had any formal art training and I find your newsletter a continued source of support and education for my artwork. Because I lack formal training, I was not aware of the some of the definitions of words in your self-critique questions. Could you recommend a good source for me to study so I can better understand terms such as interlocking gradations and alluring couterpoint? From one person who is very grateful for your bi-weekly gift , Susan Elliott

Normally I’m not so specific as to actually verbalize criteria. It’s more an intuitive thing coming back to one place or problem area. “Something’s not quite right there.” Distance is my biggest help. Two feet from the canvas it may look fine – twenty feet away, “Oh, dear!” A mirror is useful, different light. Values are my personal continuous struggle and taking a photo of the painting and taking it to grayscale on my computer gives me some glaring insight. The only real question I ask myself is, “What would make this a better painting?” Don’t ever become satisfied.

Self criticism is as important for the individual artist as critiques are for classrooms and workshops. The trick is to take your ego out of the process or so manipulate your viewpoint perspective, that you are not yourself. One mentor told me ‘students don’t squint enough’. Looking at your work from a distance is best 20′ to 40′ can simplify forms and colors. If you don’t have a large studio you can squint, you will be left with large graphic forms and see colors reduced in intensity. Another viewpoint change might be to look at the work upside down. Do the abstract positive and negative shapes work? Next there is another viewpoint modifier — look at the work in a mirror. Does it still hold together? Is there a negative or worse — positive difference? Finally there is the image manipulation possible in contemporary paint programs. High Tech. solutions can make a positive contribution. These can change your viewpoint and add a little objectivity to a subjective process. The easy answer is ‘imagination’ use the tools you have to improve your ability to self-critique. To improve and progress in your work, you need to do it well.

I think the self criticism part of art making involves a slip into a zone of complete honesty. One does this best when alone. With others present there can be a sense of bravado, show off, and talking up faults. Take the work to a private room and be honest.

I find that turning a piece to the wall and ignoring it for a few days does wonders. Suddenly, it seems the next step is obvious.

you gave up smoking: fine, but that leaves the single malt…and begs the question: is there any problem single malt can’t help?

An instructor I once had said “Skill follows perception”. In other words, as you better perceive your work, and indeed the world around you, your skill will increase accordingly.

Every hour presents a check point in the life a sculpture, but nothing is more important than the one and only list I use just before my work moves out the door. And “lucky me” that list only has one box: … Is it museum quality? This is not to say that I feel any sort of smug assurance that buyers will beat a path to my door. Rather, it speaks to a confident degree of readiness. It guarantees that my work has been approved by my own worst critic ;-) and so well executed that even a discriminating observer will find no flaws. It’s a good place to begin. Current annual juried show:Valley Art Center, Chagrin Falls, Ohio

I save every one of these and have learned so much. Keep them coming.

That was such a wonderful way to start my day! Thank You!

Wonderful and meaningful presentation!

Read the article and watched the film @ 5:30am; perfect time for a new perspective. Thanks.

This is what it’s all about. Every day I look up. No matter the weather or my mood or daily issues, and I say “Thank you for today”. It is the most healing thing one can do on a daily basis.

Like Kasey Harrington who asked, “Is it finished yet?” I ask, “Am I there, yet?” Can’t say I ever know exactly where I am headed, but I sure know when I get there. By the way, those lists??!! Left brain trying to take over the right? Good grief!

What a wonderful few minutes this is. Thank you so much!

Absolutely Beautiful! Gratitude is something that has become more and more important and meaningful in my life as I grow old. I have learned to write about the things for which I am grateful each day, and it has changed my attitude about life in general.

What a true blessing this video is….thank you, it woke me up to so much I had just unintentionaly missed.