The original act of drawing was on the intuitive level; now you begin the process of critical analysis.

Complete final drawing on 18” x 24” drawing paper and submit to final conference for critique.

Correcting/Critiquing Your Drawing

• How do you decide your drawing is finished? The first step is to take a step back and use your third eye—the critic. The original act of drawing was on the intuitive level; now you begin the process of critical analysis.
• Step away from your artwork for a while; get a fresh look by taking in some fresh air, away from your art. Now turn the drawing upside down and look at it in a mirror. You’ll be amazed at how different the composition looks and how quickly inaccurate aspects of your drawing—like inconsistent perspective or incorrect symmetry—will become apparent.
• Look for balance. Lopsided teacups or plate ellipses reveal themselves when a drawing is upside down. The fresh viewpoint allows you to be more aware of the drawing’s formal qualities, regardless of the subject you have chosen.
• You may need to check your proportions with sighting and measuring to correct any problems. Check that all ellipses are drawn correctly.
• Check that you have a fixed eye level and parallel planes are meeting at a single point on the horizon line
• Foreshortening can be a problem if we have relied on what we think we know about an object receding in space instead of using sighting and contour techniques. Use a critical eye to check all foreshortened objects in your drawing.
• Have you given attention to both positive and negative space? Has the arrangement of objects resulted in some interesting negative space?
• Have you used overlapping in your composition?
• Go over your contour and inner contour lines to find all indents, folds, and bumps.
• Have you used line variation that describes form, volume, and space?
• Your final drawing uses value to show volume. Have you accomplished this by indicating highlight, light, shadow, core shadow, and cast shadow? Adding textured detail after you have drawn the tonal volume is important, because the texture alone will not describe this volume.
• Are there objects of varying size and character? Are both regular and irregular shapes or objects represented in your composition?
• Does each part of the composition connect to something else in the picture? Do you repeat shapes or variations of shapes for harmony

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