Thursday, September 30, 2010
I have redone the texutre process at least three times (with a variety of colours) and still no luck, the alpha colour channel has also been removed.
Any help would be great...
Commercial Licenses for key software packages:
Adobe Photoshop CS5: £640
Adobe After Effects: £979
Adobe Premiere: £760
Autodesk Maya (Student Version) £150
Autodesk Maya (Commercial Upgrade) £1500
Kled Studios: £15578.25
Gremlin Box: £14089.00
Void Canvas: £14081.95
B3D Studios: £13677.75
Inspire Studios: £12564.00
Lucid Studios: £11236.50
Creature Studios (3 Members): £9288.50
Wednesday, September 29, 2010
and in bibliography
Jones, J. (2009) Tracey Emin is far from a narcissist. In: The Guardian[online] Available at: http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/jun/15/tracey-emin-drawings-white-cube (Accessed on 26/07/09)
The problem is on two quotes one doesn't have the author and date and the other doesn't have the date it was written. In this circumstance what would I do?
Tuesday, September 28, 2010
I think this is the correct timetable:
Any help will be appreciated, thanks...
Monday, September 27, 2010
Further to the information given during your Induction Week Presentation, here are the guidelines for assessment at UCA. If it sounds serious - it is! It's really important that all students understand the assessment procedure; please take the time to get your head around it!
GUIDELINES FOR ASSESSMENT 2010/2011
Students who submit work for assessment will normally be given three attempts to pass a unit.
These are described as:
Submission at FIRST ATTEMPT – a full range of marks may be awarded for any component.
Submission at REFERRAL (second attempt) – a maximum mark for any previously failed component will be 40% if the component passes at referral (second attempt).
Submission at RETAKE (third and FINAL attempt) – a maximum mark of 40% may be awarded if the component passes at retake (third attempt).
If a student fails at RETAKE, they will be removed from the course.
Note: IF A STUDENT FAILS TO SUBMIT WORK AT FIRST ATTEMPT, THEY WILL FORFEIT THEIR RIGHT TO A REFERRAL AND WILL MOVE DIRECTLY TO RETAKE. This means that there will not be three opportunities to pass that unit.
NO LATE SUBMISSIONS WILL BE ACCEPTED. Any work submitted after the submission deadline will be regarded as a non-submission.
Remember! Non-submissions are DUMB!
If a student passes one component but fails another, the rules described above will apply to the failed assessment component. The student’s final mark will be calculated on the basis of the passed component (at the original mark) and the passed component at referral or retake (40%). This will enable the student to achieve higher than 40%.
Students cannot pass a unit unless all components have been passed at assessment.
Students cannot progress from one stage of the course to the next unless all units for each stage have passed and they have accumulated the appropriate number of credits to move to the next stage.
EXTENUATING CIRCUMSTANCES MUST BE SUMITTED WITH ACCOMPANYING EVIDENCE PRIOR TO THE SUBMISSION DEADLINE.
Sunday, September 26, 2010
Okay - as blogged previously, what follows is a ‘Reader’s Digest’, highlighting 'best practice' (in all its guises) from the CG Arts bloggosphere this week…
Some great in-depth reviews posted for The Fly and its remake; Molly, Jono, Dan, Paul-Arthur and Dayle have all really invested in this aspect of the unit. Many of these reviews could easily be unfolded further to form the basis for the 1,500 word assignment. Some students have posted reviews that, while undeniably interesting and valid in terms of their insight, do not subscribe to the method set out in the brief. Golden rule 1: do as the brief tells you and present your work as requested!
Check out Nat’s sequential drawings of the musculature of her face; not only does she ‘unpack’ its development into a series of incremental stages – which is how I and Phill Hosking want everyone to approach their digital painting tasks - she’s also approaching the anatomy brief from the ‘inside out’, using the unit to refine her understanding of the human body and how to depict it accurately. Max’s sequential drawings from his first digital painting workshop are similarly communicative. ALL students need to get into the ‘save as’ habit when working digitally; not only is it good practice in terms of housekeeping, guarding against crashes and taking a painting ‘too far’, it also offers a fascinating insight into the creative process. For another good example, visit Nat’s sequence here.
Check out Dan’s peacock hybrid sketches; compare them to his very first idea and see how much more interesting things become when you work from the skeletal structure out (as opposed to ‘dressing up’ in the characteristics of your animal). Jono's approach is similarly based around first understanding the innerworkings of the human body - in this instance, his hand.
Take a look at Dayle’s self-portraits – he’s not so sure about them, but I think they’re very expressive, with bags of character.
I was very happy to read about Domantas’s self-directed film odyssey. It is another truism of degree study that students who ‘read around the subject’ tend to develop more quickly in terms of visual literacy. He’s obviously making full use of the library’s DVD collection. Any student who isn’t is missing a trick. You’ve got 3 years to soak your brain in a lake of new stuff...
Meanwhile, the second years have commenced their Studio projects and are busily formulating their studio identities and exploring their group dynamics. I loved these images posted on Ethan's blog - very businesslike and very encouraging. Indeed, I could have showcased any of the newly launched studio blogs - it's all looking very positive and very productive; methinks Retrofest 2010 is going to kick some serious arse...
Congratulations to Final year student, Raj, who has bagged the services of a professional voice-over artist for the first of his final year projects. Students don’t exploit their ‘in education’ status enough. Remember the adage – if you don’t ask, you don’t get. You can listen to the voice-over here.
Visit the blog of final year student, Zack – notice his attention to detail and the branding of his blog – he’s always very professional and creates an inter-connectedness between his work and the way he presents it.
And finally for this week's 'PWTM', visit final year student, Tom: it’s the end of week one and he’s already posting his pre-vis. This can only be a good thing.
1) Export your blog as an .Xml document.
Go to the Settings tab and click 'Export Blog'. Save the document to your desktop.
2) Go to the website http://www.blogbooker.com. Click on .PDF and then Blogger.
3) Connect the .Xml document and enter your blog address. Set the time period (start - end) you wish to extract. Click 'Create Your Blog Book'. This process will take a few minutes.
4) Right click and 'Your Blog in PDF Book' and choose 'Save As'. Save the document to your desktop.
Saturday, September 25, 2010
There appears to be some confusion regarding the purpose and significance of the ‘Interim Online Review’ process – the first of which commences on Tuesday, 5th October.
The IOR is very simple. It is an opportunity to receive feedback from me in the form of an extended ‘comment’ on your blog.
By now, all of you should be uploading your research/drawings/reviews/technical exercises etc. regularly to your blog. (If you’re not then you’re isolating yourself from the creative community of which you’re part and missing out...).
To prepare for your IOR all you need do is ensure that your blog is up-to-date and explanatory of your intentions/problems/ideas so far. For instance, if you are undecided between two possible approaches to your hybrid portrait, then say so on your blog and include (obviously) all the preparatory drawings illustrating both ideas. Show me what you’re thinking; don’t be mysterious or precious; if you want it discussed, post it!
If you think you’ve got a good essay question figured out, then name it, and I’ll respond by suggesting ways in which it might be structured or referenced or enlarged upon.
Put very simply indeed, whatever aspect of your Unit 1 work you want feedback on, get it up on your blog BEFORE Tuesday 5th (i.e. by the end of the day on October 4th as specified on your timetable).
Be warned: if there is nothing on your blog – if you’ve produced nothing – you will receive NO feedback – which is your loss, as feedback at this interim stage when there is still time for further refinements is often pivotal to greater success and your increasing sophistication.
I DO NOT formally assess your work at this interim stage. You are only formally assessed at the final critique concluding the unit.
The more work you produce and post, the more feedback and support I can provide. There is no need to create a special IOR post – as I will be looking at the continuum of your blogs from beginning to end – BUT, if you do have a specific question, grab my attention by creating a suitable headline – i.e. ‘IOR – Essay Question – Help!’
It takes me an entire day (and sometimes 2!) to complete an IOR for every student; your feedback will appear on your blog throughout Tuesday 5th and Wednesday 6th.
You should use the IOR to your advantage – it is a deadline before the deadline, so use it to focus your efforts and structure your self-directed study. Your job is to engage me creatively and imaginatively; get my juices flowing with lots of preparatory drawings, research and ideas! Don’t disappoint: the IOR is one very immediate way I have of gauging a student’s commitment to the course – and their long-term suitability too.
The IOR process reflects on YOU – so make work, make lots of it, get feedback, do well, grow in confidence (and then conquer the world).
See you all Monday @ 4.30 in L1 for Cocteau’s ‘La Belle et La Bete’ …
Friday, September 24, 2010
Important: All work for online interim review must be uploaded to student blogs by the end of
Does anyone have any ideas what work this is?
In my continuing struggle to find alternate ways to communicate with the CGAA community while minus a reliable internet provider (i.e. creating a generalized feedback post on the group blog), I have hit upon a ‘Big Idea’.
Students are always asking me for examples of ‘best practice’ – which is an academic’s way of saying ‘the good stuff’ – student work that is especially satisfying in terms of method, technique, creativity, innovation, and management. ‘Best practice’ might mean a film review of The Fly that particularly impresses in terms of literary style, use of academic conventions, and critical insight etc. It could as easily refer to an especially evocative image from a life-drawing class, an effective digital painting, or great example of the pre-production pipeline, digital model or final animation.
This then is TutorPhil’s ‘Big Idea’.
Each week (or thereabouts), I’m going to feature on the group blog a summary entitled ‘The Post With The Most’, in which I’ll highlight and hyperlink exemplars of ‘best practice’ from the CGAA community – a digested read of a week’s creative activity.
If you’ve been particularly impressed, inspired or helped by a classmate’s work or example, then nominate it for a feature in ‘The Post With The Most’ by emailing the post-specific url and your reasons to email@example.com.
I want to celebrate and champion excellence, innovation, imagination, professionalism and scholarship.
Watch this space!
Thursday, September 23, 2010
Tuesday 28th: Character Design Class - Groups.
GROUP A: Tuesday morning (10am)
GROUP B: Tuesday afternoon (2pm)
Maya Make-up Class:
Group A (as Above): Tuesday afternoon (2pm) in DM3
Please Note: These groups are for one week only.
I have talked to a few of you about organizing a study group on Wednesdays.
Their will be no set subject, only what people need to work on.
Contact me through my UCA address to tell me if you are interested.
Wednesday, September 22, 2010
Chris Rogers @ http://chrisanimation-bringingideastolife.blogspot.com
Adam Webb @ http://www.thevistor.blogspot.com
Domantas Lukošius @ http://www.domantasinn.blogspot.com
Sam Tremain @ http://s-tremain.blogspot.com
Paul Lavey @ http://paul-lavey.blogspot.com
Dmitrij Polukarov @ http://insanityshock.blogspot.com
Nat Urwin @ http://skygecko-nat.blogspot.com
James Fisher @ http://jfisher-animation.blogspot.com
Jonathon Pearmain @ http://www.jonathanpearmain.blogspot.com
Oliver Fowls @ http://ofowls.blogspot.com
Lyn-Dae Stewart @ http://pixipui.blogspot.com
Alex Pinnock @ http://alex-zepherin.blogspot.com
Max Rogers @ http://dragsterwave90.blogspot.com
Michael Holman @ http://mickeyholman.blogspot.com
Ben Harris @ http://benharris1990.blogspot.com
Sean Banford @ http://seanyb-art.blogspot.com
Molly Bolder @ http://mollybolder.blogspot.com
Sasha Hart @ http://sasha-hart.blogspot.com
Orisakolade Orisadamilare @ http://orisagbemi-olorun.blogspot.com
Charlotte Binnie-Thompson @ http://phatpinkpanda.blogspot.com
Katy Negus @ http://ktartwork.blogspot.com
Roy Efe @ http://legzy-royefe.blogspot.com
Daniel Rolph @ http://drolph.blogspot.com
Kayleigh Dean @ http://kay-dean.blogspot.com
Justin Easton @ http://jutsblog.blogspot.com
Dayle Sanders @ http://daylesanders.blogspot.com
Aidan Codd @ http://aidancodd.blogspot.com
Kaylie Haywood @ http://im-a-smooth-criminal.blogspot.com
Naomi Somai @ http://zeaxil.blogspot.com
Jonathan Sharples @ http://sharplesdesigns.blogspot.com
Andriana Laskaris @ http://andrianal.blogspot.com
Conor Bishop @ http://conorsblog2.blogspot.com
Tien @ http://atibui.blogspot.com
Paul-Arthur Lemarquis @ http://www.paularthurl.blogspot.com
Ethan, Earl, Yola & (Me) Bob
Our aim is to create a Retro-Styled, 2 Minute trailer which conveys the title:
Attack Of The 50ft Alien From Toyland
Feel free to follow and track our progress as we take on the challange
This is the blog link for B3D Studios: b3dstudios.blogspot.com
B3D is the inderpendant company of Chris, Ethan, Ruben and Shahbir.
Follow the link to get some updates for our projects ranging from idea and story development, concept art and design to storyboarding, pre-vis and the trailer for our films.
Im having trouble uploading images of my drawings due to them being quite faint, and I was curious if there is a easy way to get around this?
At this time I dont have a camera so im borrowing my mums which is a 10.2 mega pixel, im not a whizz with cameras and I dont know if this would make a great deal difference, but I was wondering if any one had any suggestions? If so they will be appreciated!
Also if you have any recommendations on what camera I should buy that would also be helpful!
Tuesday, September 21, 2010
Monday, September 20, 2010
Sunday, September 19, 2010
Saturday, September 18, 2010
Critique is a very important part of learning. No one is born with godlike skills in any field, and improvement happens both through passion and constructive feedback given by other people. The majority of amateur artists do not have a well-developed capacity to objectively view their work and on their own understand and fix any mistakes or improve a more or less good piece of work - this is when the outsider opinion comes to help. Looking at one’s work through another person’s eyes can literally do wonders.
A truly outstanding comment is always hard to compose, always hard to receive, and always hard to come by. For an artist however, a comment is of the greatest importance. It provides feedback on an artwork that will continue to remain unmatched by that of a single word or emoticon. To an artist, a comment is the difference between progression and refinement of ones skills, and continuity of an undeveloped style.
The unique situation that online art communities are in, is that they are composed of artists, therefore, each member should be somewhat qualified to give feedback to others and expect others to give advice to him. In a real art gallery it’s not so easy since most observers are not in any way qualified to give constructive critique, but even then, there are guestbooks where people write to the artist their thoughts and emotions left after being in the gallery.
Thesis: while not many are able to give thorough, technical advanced critique, anyone is able and is qualified to give feedback.
Many people think that they are not qualified or respected well enough to comment on a work of art because their own art isn’t up to the standard. They think that the artist will jump on them or dismiss their opinion. But it’s not so – if the opinion is given in a decent manner, is logical and makes sense, it can never be dismissed. More so, it would be cherished by the artist even if it’s negative and in the future, all the good you have done and shown your interest would return to you.
Thesis: The opposite of love is not hate, but indifference.
Some people, and here too, think that it’s an artists job is to provide visually appealing material and that he should be grateful just for someone looking at his art. Like, what more would you want, I looked and you should be happy.
People show their art to other people to gain recognition and share a bit of their inner self, emotions and ideas. They want it to be discussed and shared. It’s natural. Those who don’t want to do it, put their art in the table’s drawer and never take it out.
What a Critique is NOT
1. Critiques are not something that can be rushed. You must take time when writing them, or they will come out haphazard and of no benefit at all.
2. Critiques are not written in chatspeak or leetspeak. An example of a bad critique would be: “OMG!!!!111 FYI, I <3 ur art! C I BTDT, and u r0x0rz imho!”
3. Critiques do not use emoticons solely to express feeling as these do not explain why the work is desirable or undesirable.
4. A critique is not a summary. A summary reports what the art piece is about. A critique, on the other hand, analyzes, interprets, and evaluates the art, and searches with the goal of answering the questions why? what? and how well?
5. Critiques are not just limited to positive or negative words. Critiques are a synthesis of positive and negative points.
6. Although they may run contrary to the thousands of other comments you get, critiques are not a form of flaming. Flaming is destructive; critiques are designed for the improvement of art.
7. Critiques will not always be agreed upon by everyone. Art is very much a matter of taste and not everybody likes everything.
“That looks awesome/is a nice work/pretty good job”
“This just sucks!/is uninteresting/I don’t like it”
These types of feedback are useless and discouraging because they do not specify why the product is good or bad. If the product is okay, what’s good about it and what could the author change? Without specifying they are more likely to change the wrong thing. Your comment basically constitutes to nothing.
The first quote on a first glance, isn’t discouraging as it won’t hurt the artist’s feelings. But it’s only on the first glance, and is still useless. You should specify WHY you think the work is good. On a deeper level, what happens is this – the artist feels cheated. With all our fragile egos, a person can think “well yes, I know it’s good, but why? Is my work so soulless and dull that nothing can be said about it apart from it being nice?” Such feedback just states: “I didn’t really like your work, but left a generalized comment so you’d do the same for me”.
The second quote is discouraging because it knocks down the author’s self esteem. There is no encouragement for the artist to keep on trying, it as well might say “you suck, give up”. Yet again, the comment constitutes to nothing. It doesn’t tell the person how to improve, guide him to techniques or sources that might help him in his future works, etc. It’s completely useless and downgrading. This kind of malicious feedback is something that still is rampant in online art communities.
This doesn’t mean you need to sugar-coat your opinion – just that while pointing out the negatives, give solution to how improve the situation.
Thus the goal of a critique is to determine the significance and artistic merit of an artwork through careful appraisal and study of its merits and demerits.
Where Is Critique Appropriate?
The golden rule of critique is always to ask yourself "is it appropriate to this work?" There are many examples of work here where it is not necessary to give a massive comment, or where it is impossible to sit and analyze a piece of work for techniques. On the contrary, giving a one-liner comment to a work that obviously is complex and rich, may too be inappropriate Make sure you ask yourself that question before you start to comment and save yourself wasted time.
How To Give A Good Comment
A good comment is almost always composed of three important key topics. These are:
A good comment will always touch on one or more elements contained in these three areas, and will be highly beneficial to the receiving artist.
To most people, this is the element of commenting that is hardest to perfect and understand, and is often the reason why both givers and receivers of good critique are often confused.
The key step to this part of a comment is to look before you write. It is always tempting as a artist to jump in and comment right away, but a good comment requires more than just a quick glance at an artwork.
Look at the work and ask yourself the following questions, which all refer to techniques the composer has used deliberately:
What are the colours like?
Do the colours blend together, or do they stick out? Is the piece comprised of a small number of colours, or does it utilize many?
How are the elements of the piece arranged? (This is called composition)
Where does your eye first move to? From what angle does the scene appear to be portrayed from? How light or dark is the picture?
How big or small is the subject of the picture?
Is it very far zoomed in or a great distance zoomed out?
Is the picture warped or realistic?
Are there lots of definite shapes in the piece, or is it very indefinite (often a technique of surreal or abstract art)?
What sort of focus does the piece use?
Does the composer use intricate detail, or is the picture very blurry? Does the shot highlight a small part of the scene, or does it capture a vast area?
Does the work contain textures?
If you were to touch the texture, how would it feel? Rough? Soft? Sandy?
These are six questions you should ask yourself every time you look at a work. Make sure you take an appropriate amount of time to inspect the piece for these techniques.
You could go even more specific along these lines:
Do you like what it’s of? Do you like how it is being depicted? Why?
Do you like what it’s about? Why?
Are there patterns present? Do you like them? Do they add to the feel of the image successfully? How?
How did your eyes move over the image? How do they travel over it after you’ve taken it in? Is the movement too divided? Does it match the image’s theme? Why?
Does the image contain overall interesting shapes? How do these shapes affect the image? Could shapes be added/subtracted? Which ones and why?
What is the centre of attention for you? Why? What is it supposed to be?
Did they work long enough on the image? Did they work too long on it? Did they go overboard with what they were trying to say? Could the message/forms be refined? How? Why? Could it do with/without a border of some kind?
Are there hidden packets of detail that make you want to come back for more? Do you enjoy the detail of the image or is it too busy to look at? Is the image perhaps too sharp or too soft? Is it supposed to be?
What can you read of the body language of the character? Was it done well? Does it make you feel better/worse about the image? Why?
What does the expression of the character tell you? How does this make you feel? How does this alter your perception of the image? Why?
Are the characters in balance? How does this affect the feel of the image? How does this change your disposition towards the character?
Do you actually like the character’s appearance/personality? Why? What do you think of the character in regards to appearance and/or personality?
Are the details of the character how the artist wants them? For example, do they match the style the artist was attempting? If not, what can be improved? Why?
Are you able to connect with the character? Why? Are you supposed to be able to? Is there a way to improve the intended connection?
Is the background busy/calm enough to suit the mood of the image? Is it too distracting/plain? Why? What could be improved?
Does the background look accurate to life? If it is supposed to but doesn’t, what could be improved?
What does the background make you feel? Which parts make you feel this way? Why?
If the image has no figures, could it do with some? Why? If it has some, could it do without? Why? How would this affect the theme of the image?
Do you feel an affinity for the depicted scenery/background? Does it affect how you feel about the image? How?
This part of a comment is perhaps the easiest, and surely the most practiced part of commenting around the online art community.
Describing the effects of the techniques upon you is as easy as saying how the piece makes you feel as the viewer.
Next, consider your perspective first.
1. What emotions and feelings well up when you look at a certain artwork?
2. Why do you feel those particular emotions?
Write down your perspective, and the emotions you felt on your paper, and the reasons why you feel them.
Next, consider the perspective from the artist’s viewpoint.
1. What might they have been thinking and feeling at the time? It sometimes helps to read the artist's comments at this time as this can occasionally enlighten this question.
2. Get to know the artist. Check some of the other works to see if you can isolate the common theme that this artist focuses on. Do any other pieces this artist has shed light on the feelings in the work you are critiquing?
3. Do the emotions and feelings that I felt match those of the artist? Or are they different? In this way you can determine whether you are able to relate to the art.
There is nothing hard about listing your emotions. However there are some questions you can use to make sure what you are saying is relevant:
How does the piece make you feel?
Does it make you feel happy or sad? Does it make you want to cry or burst out laughing?
Does the piece remind you of something?
Does anything in the scene remind you of something from your childhood? Do the objects look similar to something you’ve seen somewhere before?
What do you like about the picture?
Is there a colour that you like? Do you like how the piece is arranged? (Refer to the techniques you’ve already listed). Be careful not to focus on a really minor element only, but try to speak also of general themes/tendencies.
Make sure your passionate about what you write in this part. If the piece does not make you happy, try not to come across too nasty or unappreciative.
This is where the comment can get personal and often get an artist off side with you. It is important to remember that the artist spent their time making this piece. However tempting it is to be nasty, don’t ever just write that you “hate the piece” or “dislike it” without having some evidence to back it up.
The purpose of providing the techniques and effects in parts one and two of the comment is to provide this evidence, and if done correctly, it should accurately reflect you attitude to this part of the comment. If it doesn’t, go back and rethink the questions we asked ourselves earlier on.
Offering improvements to an artist is often going to end up with a sad receiver. Everybody adapts to their own style after a while, and it often hurts to be told that it’s not that great. On the same token, offering improvements to an artist can be the greatest gift you can ever give.
Here are two questions to ask yourself while giving improvements:
What would make this piece even better?
Always refer to the techniques you used in part one. This will make your comment sound much more professional, and come across as helpful rather than forceful. Find techniques that you think could have been done better, and if possible, post links to another work that examples what you’re referring to. This can be inspiring to the author and give them a great example to bounce ideas off.
Why do I think you’re a good artist and why do I like your work?
All this time we’ve been professional and offering tips and examples. This is the part where you get to give some real praise. Leaving a comment ending with just improvements would leave the artist feeling down. A kind word never goes astray, so tell them why you liked their work, and why you think they deserve your help! Don’t shy up, nothing will make an artist happier to hear how much you appreciate their input to the community!
Writing the Critique
Now, it's time to organize your notes and get around to writing the advanced critique.
Some tips to follow when doing this:
1. Organize your thoughts so that when speaking about a particular element you cover all the things you have written about that element.
2. Try to give your critique a introduction, middle, and closing. The introduction can be a summary statement or paragraph and this summary can be repeated at the end as the closing statement. The middle should be where the comments on your in-depth appraisal and study of the deviation are. The ending should provide a polite summary of your thoughts with a closing statement so that the critique is wrapped up and complete.
3. Use complete sentences, punctuation, and good grammar.
Next, look for a few negatives. Write down a few elements of the deviation that you feel could use improvement. and include specific explanations that cover the following questions:
1. WHAT can be improved
2. WHY you didn't like it.
3. Suggestions on HOW to improve that element
4. Only aim for a few areas in this. It's easier to be negative than positive, but an advanced critique does not concentrate solely on the weak points, but tempers constructive criticism with acknowledgment of a works good features. If you have more negative than positive notes written down, consider organizing the negatives by their severity (what you feel needs the most attention) and cross out the low-ranking problems
Never forget to revise what you've written! The best comments are not only honest and well written, but they actually make sense!
Spelling and grammar may not be your thing, but you can at least do the artist the favour of making it legible. They'll love you even more.
Remember, don’t be shy, don’t be indifferent and that when you write a good feedback comment or critique you’re helping not only the artist, but yourself too)
I can't credit the original author because I think it has done the rounds with possible additions and edits, it was certainly on Deviant however I found it elsewhere. Hopefully it will prove a useful read.