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| Doodled illumination, by Gail Kellogg Hope |
This is why she ended up making the illuminated
borders here. They’re pen-and-wash doodles, and she thought she’d make a set of
them as cards as a gift for someone. I
thought they were sweet and told her so. Then she showed them to a group on
Facebook, where she received a scathing rip by a fellow artist about her lack of detail.
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| Doodled illumination, by Gail Kellogg Hope |
There is a place for constructive criticism, and Facebook—in
general—isn’t it. This is not to say that I never critique work on Facebook,
since I have hundreds of artist friends and we’re always bouncing images back
and forth. But critique is best done one-on-one and among people you trust.
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| Doodled illumination, by Gail Kellogg Hope |
The artist has just presented you with the best work he is
capable of at this time. He is profoundly attached to it. Like a parent, he is blind
to its weaknesses. Yes, you can gently point out ways to make the work stronger—and
that is, after all, the primary job of a teacher—but you had better start from
the position that the work is fundamentally good.
This is why nice people sandwich the negative between two
positives: “I love your use of color/the horizon is crooked/your composition is
strong.” Practice that technique. It will come in handy all through life, not
just in art.
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| Doodled illumination, by Gail Kellogg Hope |
I have a painting in my studio that I wrecked after a bad
critique session. Fifteen years later, I know that the comment that crushed me—“It’s
like a bad Chagall”—was neither true nor helpful. I would hate to think I ever
did that to another student.
Be honest, but if you don’t have anything good to say, then
you probably shouldn’t be critiquing work at all.
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| Doodled illumination, by Gail Kellogg Hope |
I will be teaching in Acadia National Park next August. Message me if you want
information about the coming year’s classes or this workshop.







