Getting a Critique: When to Listen, When to Move On
Since it’s back to school time for many of us, I thought I’d focus on an old-school aspect of the illustrator’s journey: the critique. We all get them (if we’re smart) but how do we know what to listen to? I know seasoned illustrators who still ask this question. Over the years I’ve queried various illustrators about when they know how to listen and I’ve gotten many of the same answers.
Here’s when you tune in with all ears… and more than a grain of salt:
• When it’s someone in the position to move your career up a notch and you respect their opinion. That seems like a no brainer but notice I said AND. We often listen to one or the other. If it’s someone you respect but they don’t understand the particular industry you are approaching, then they may not be in the best position to offer advice. Likewise for someone who buys art… you may change your piece to fit their expectations but what if your long term goal is illustrating in a different field?
• When more than one person has mentioned the exact same problem, especially if it’s someone you trust, then it’s worth listening to.
• When the critique mentions a problem you already suspected was there in your heart of hearts….. you should listen, you were probably correct when you worried about it the first time.
• When it points out a way to get more story into the illustration, and it’s the story – the intent of the piece – you are trying to tell, then listen.
Here’s when you consider smiling and saying, “thanks, I’ll think about it.”
• When the advice seems in conflict with the story you are trying to tell. Like my last bullet, this is also a toughie and demands that you be completely objective about your own work. Are you sure of the story?
• When the critique seems more like a commentary on someone else’s taste. Just because a very respected and highly competent art buyer likes blue doesn’t mean you have to add it to the image IF it goes against the story you were trying to tell.
• When the critique comes from someone outside your particular illustration industry, even if you respect them. This is also a toughie because it’s possible they have sound advice. But before you listen make sure you are educated about the standards in your field. It’s possible that you can bend their advice to work for you. If, like myself, you are both an illustrator and a writer then that goes double. Some of the best critiques I’ve heard actually came from writers who were adept at thinking visually.
To paraphrase a comment from agent Michael Bourret about writers and editors: “sometimes the worst mistake is to do exactly what the editor asked for… instead of looking for the real problem.” And when it comes to critiques from buyers you are trying to impress but who have rejected the work, Jane Yolen said it very well in her interview on 12 x 12 earlier this year: “Just because someone offers you a free critique on work they ultimately don’t want, they aren’t taking it! Sometimes it’s just better to forget those.” While it can be hard to get good constructive critiques and equally hard to listen to the criticism, the only way to become good at it is to seek them out regularly. Similar to learning perspective or how to draw the figure, practice is what develops the artists’ ability to receive – and to give – great critiques.
About the author
- MARY REAVES UHLESContributor
Mary Reaves Uhles has created award winning illustrations in books and magazines for clients such as Cricket Magazine Group, McGraw Hill, Magic Wagon, and Thomas Nelson. Before beginning her career as a freelance illustrator, Mary worked as an animator on projects for Warner Brothers and Fisher-Price Interactive. A PAL member of the Society of Children's Book Writers and Illustrators, Mary calls Nashville home and spends her free time behind the wheel of the family mini van.