Here is my assignment for the class Inking Practice by Jake Parker.
Its is harder than i thought..
"Excellence is never granted to man but as the reward of labor"
Remember the goal: this person wants to make good art. A good critique gives them new insight, new direction, and energy to do that. At the end of the critique they should feel equipped and excited to get to work.
Notice what you like. That might be line quality, something quite improved, or even just noticing the work and effort they put in. Really, noticing the effort helps with point 1, the goal.
Offer perspective on where they need work. Again, something specific or something about their approach. Maybe they need to work on figures or color or composition, or maybe they just need to make more work.
I’ll add to #3 that this should be as honest as you can. This is a gift IF delivered with point #1 in mind. And for what it’s worth, the aggressive make-you-cry critiques get this wrong. There’s a way to tell someone they have work to do that excites them to get to it, and doesn’t make them want to curl up in the fetal position
And don’t overwhelm. If there’s a lot to work on, pick one or two things they can bite off.
In my humble opinion as an instructor, half of teaching is convincing someone to keep trying. One way to do that is not just cheerleading, but sharing tools, resources, and next steps, showing someone their next moves.
It costs nothing to believe in someone who is putting in the work. And you reap immense emotional rewards when you watch them succeed with your encouragement.
-BY MARC SCHEFF
I have decided to get out of my comfort zone and decided to draw 10000 pages of drawing.
This thread is a way to encourage everyone to draw. I think the key is to not take it seriously, not get mad when you can't do something yet and never give up.
I thank you, art students. Thank you for your dedication to the arts.
Hi everyone, here is my entry for the June contest
Story from the book Art & Fear by David Bayles and Ted Orland
The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality.
His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the “quantity” group: fifty pound of pots rated an “A”, forty pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot – albeit a perfect one – to get an “A”.
Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the “quantity” group was busily churning out piles of work – and learning from their mistakes – the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.