Online Critiques - Critiquing questions

I don't know if this qualifies as formalized questions, but when looking at pix of turnings whether on the web or in a mag my eye picks up certain traits of interest to me...

Form then function or Function then form. This colors the balance of any criticism I may have for the piece as a whole. Art? Craft? Both? Other? Functional Bowl? Fanciful vase? Perhaps I'm prejudiced, but a bowl has certain characteristics of "BOWL", that may or may not include holes, zippers, or other ornamentations.

Does it have pleasing proportions, height/width/transitions. Do the walls have thickness enough to support the perceived weight- again: proportion of size.

Do the lines "flow"? Does the grain pattern work with the physical form? Do the transitions compliment the grain and enhance the natural beauty or the wood?

Does the material fit the form or function? A goblet of pitch pine may look nice have balance, excellent lines, but may not be particularly functional. On the other hand, that straight, no-figure, white-as-rice, lampshade is perfectly functional, but has nothing to distinguish it from a store-bought fabric shade. Balance of form, function, art, craft.

I've had a few pieces critiqued from pix- most of the helpful criticisms were about form and function, balance of line and transitions, proportions between elements, grain flow for appearance and for strength.

Since I never turn for anything other than my own pleasure, even (especially!) when making objects for others, the comments I look for are to better learn what forms or shapes others find pleasing and WHY. What makes this particular widgit attractive or not? What do others think I can do to make the next widgit look better, more functional, more balanced, less fugly .

One of the best bit of advice came from a pic I posted about my very first goblet. I thought I did a pretty darn good job but I knew something wasn't right, but couldn't tell what it was. I was treated to a delightful treatise on why the transitions were too close, the base too fat, the overall piece too tall for the width for the stem. In short, the proportions were not right. I learned because the criticism was constructive- I was told in a way that was understandable how to judge proportions, transitions, balance.

Just my two bits worth. It's late, I've started rambling, and should probably stop before I send everyone else into the arms of Morpheous.

Victor, you are right, these are not questions, but your personal critique methodology. Which helps a great deal, I think. Everyone has a methodology, but most haven't thought about it enough to be able to write it down as you have. Dan

If an artisan is serious about wanting a quality review they need to supply quality information. Otherwise it will be "Garbage in, garbage out." The object needs to be photographed from the front and side, top and bottom, and a three-quarter view. Also a close-up to show grain and finish. Dimensions, weight, materials, finish are needed, too. Dan

Andrew, I've been thinking about this on and off for the past few days. When I critique, say a class of college juniors, I know exactly where they should be design-wise by the end of the semester. If I gave the same critique to a high school freshman it would be too much, overwhelming. The same critique to a college senior would be namby-pamby, or even sound atta-boyish. You can see this effect happening on WOW, too. So, an appropriate question would be:

What level of turning expertise are you?

1. beginner
2. novice
3. accomplished
4. advanced
5. expert

hope this helps, Dan

Hi Dan, I think the question you suggest is most appropriate. A truly valid answer would indeed help to tailor critiques. I don't want to divert this thread from its original intent, but how to define a discrete level of turning expertise and pigeon hole an indivual has been discussed on rcw. It's no surprise that suggestions were varied and without consensus. 'Knowing a little about everything vs knowing everything about little' and 'expert at this, novice at that' make for unlevel levels . It's not easy for a turner to truly decide dispassionately, with no dissembling nor boasting, what level they occupy.

BTW, I asked "Woodturning" magazine how they decided on the difficulty level of their projects. The answer was not helpful, so I still don't know how they assign their rainbows. :) Arch

Fortiter,

Isn't that what a "critique" is about? Determining level of expertise?

Not exactly. ;) A.

Fortiter,