41. Critique Photographs Here are some guidelines on what you should look at and consider making commentsabout in a photo critique (1) composition CONTENT - This is what the http://www.scphoto.com/html/critiques.html

Making A Critique of a Photograph A critique is a written or verbal evaluation of a photograph based on careful observation. It does not do to just say "I like the photograph". The critique must mention what you like and why you like it. Here are some guidelines on what you should look at and consider making comments about in a photo critique: (1) COMPOSITION -CONTENT - This is what the photograph is saying. What is the Center of Interest in the photograph? Where does your eye come to rest in viewing the photo? If there is more than one focus point does that add to the photographs interest or distract from it? Where was the Center of Interest placed within the frame of the photo? Did they use the rule of thirds? What other eye control elements are in the photo (leading lines, contrast, diagonal lines, etc). Did the photographer get close enough to the subject to include only what is important? In other words, are there wasted parts of the frame that contain items not adding to the message of the photo? (2) BACKGROUND - How did the photographer use the tools of selective focus or depth of field to deal with the background? Is the background simplified, included or a solid or is it nonexistent? How does the background add or distract from the message of the photo?

42. THE CRITIQUE CHECKLIST This list will equip you to complete a basic critique of your and/or other s artwork composition (This is a major area of creating art to become familiar with http://www.artzbox.com/articles_ART/critique_checklist.htm

THE CRITIQUE CHECKLIST (original article located: www.critiquestudio.com/mytoolbox/self_list.html I found this list while doing a websearch on how to critque paintings. This is a self critique for artists but work as well the buyersl. This list will equip you to complete a basic critique of your and/or other's art work. Some items in the list may not apply to every picture. Feel free to print the list and for your personal use customizing if necessary depending on the type of work you are evaluating. Print-out this easy-to-use list for each painting or use on your studio wall as a reminder! GENERAL OBSERVATIONS Is this painting/drawing a landscape, figurative, portrait or still-life? (or other?) What is the style, i.e. photorealistic, realistic, impressionistic, etc.? What is the subject of the painting/drawing? Is the image oriented appropriately, i.e. if the subject is wide is the art surface horizontal; if the subject is tall is the surface vertical? What type of surface material was used? Paper, toned paper, museum board, canvas board, canvas, masonite, etc. How does the surface impact the resulting artwork? Did it become a part of the picture through it's texture or color?

43. Classical Theism And Its Critique and Divine Power (C) Reasons for accepting the attributes, despite the consequences(D) Some discussion and critique of such (a) no composition or division in http://members.optusnet.com.au/~gjmoses/divnat.htm

THINKING ABOUT THE NATURE OF THE DIVINE Note: 'Traditional' or 'Classical' Theism in the following refers, for convenience of debate, to the kind of theism to be found in the first 26 questions or so of Aquinas' Summa Theologiae . It is not by any means meant to represent the full complexity or richness of the Christian theistic tradition, let alone that of Judaism or Islam. It is a massive simplication, for stimulating some discussion of the issues. Nor does it necessarily represent the full complexity and subtilty of Aquinas' own Christian theism. Index: 1. Some key 'negative' attributes: (A) Meaning Simplicity Immutability and Impassivity, Eternity (B) Consequences: For Divine Knowledge, Divine Willing and Divine Power (C) Reasons for accepting the attributes, despite the consequences (D) Some discussion and critique of such reasons What the Proofs conclude, Because God is Perfect , and Because Time is Limitation 2. Divine Power (A) Traditional Theism (B) Discussion: towards a more critical viewpoint? (a) The Extent of the Divine Power (b) The Mode of Operation of Divine Power (c) The 'Intentionality' of Divine Power 3. God's Knowing and the Relationship between God and World

44. Gateway Camera Club - Online Critique Session 4 critique Session 4. Commentary by Ed McGuirk 15 May 2003 Click on images for a largerview, Flower, Image 1 Flower. This image has a very dynamic composition, http://gatewaycameraclub.org/Critique/Critique04.htm

Home About Calendar Directions ... Join Online Critique - Critique Session 4 Critique 1 Critique 2 Critique 3 Commentary by Ed McGuirk 15 May 2003 Click on images for a larger view Image #1: Flower This image has a very dynamic composition, making effective use of a diagonal line. There is also a nice balance to the composition; the leaf to the left serves as a strong entry point for the eye. The leading line of the stem then brings the viewer right to the center of interest, the backlit flower, which has been carefully placed in a strong rule of thirds position. I love the rim lighting on this image; the backlighting creates interesting halos around the stems of the flower and the fuzz on the stem. Remember when using backlighting that you should overexpose the image to get a proper exposure. In this case the exposure has been increased about 40% in Photoshop, which turns the background from almost black to a nice shade of royal blue. This lighter shade of blue is more complementary in color to the yellow flower than the black background. Overall, very nicely done ! Image #2: Winter Cabin Additional comments on this image: The color is wonderful, and the feel of the day really impacts the viewer. Good texture, too. Subtle diagonals in the clumps of snow clinging to the wall on the handle, hinges and other things are pleasing. The door is well placed in the composition, and works well with the vertical line to the left of it. Well thought out effort.

45. Critique Of Rick Mundy's Fine Art Watercolor Paintings Of Chelsea,NY I,” a magnificent pink cloud streams across the buildingtops, connecting a tallskyscraper – its tip cut off by the top of the composition – to a squat http://www.rickmundy.com/artspeak.htm

New York, September 1997 ARTSPEAK 17 Rick Mundy’s Luminous Watercolor Views of Chelsea T o an interviewer who asked him if he felt himself to be in competition with abstract artists, Andrew Wyeth once replied that the contrary was true: all of his paintings were abstract in their design, if not in their particulars. The same might be said of Rick Mundy, whose watercolors of the Chelsea area of Manhattan are on view at World Fine Art Gallery, 443 Broadway, from September 2 through 27. L ike Fairfield Porter, a realist who was very much at home among the Abstract Expressionist, with whom he fraternized and by whom he was accepted as a kindred spirit, Mundy has carved out a nice niche for himself between formal austerity and accurate representation. He has done so by selecting his subject carefully and proceeding to paint it with a remarkable sensitivity to qualities one normally associates more readily with abstract painting than with realism. T o assure that he can concentrate on the formal aspects of his art without narrative distractions, Mundy chooses not to paint the street-level Chelsea of sharp contrasts between industrial activity and the recent influx of chic upscale art galleries and the foot traffic they attract. Rather he zeros in on the tops of buildings, with their interesting array of water towers, chimneys, and other protuberances set against spacious expanses of sky.

46. Graphics.com - News, Content And Community For Graphics Enthusiasts Thank you for any critique or suggestion. laurabarretta. PostPosted Mon Oct 20,2003 750 pm Post subject Nice composition! Reply with quote. Hi, I like it! http://www.graphics.com/modules.php?name=Forums&file=viewtopic&t=403&highlight=

47. Composition/Cropping Critique composition/Cropping critique by Paul Furman paul@EMAIL PROTECTED Dec6, 2003 at 1223 PM 6 Posts in Topic composition/Cropping critique. http://www.talkaboutphotography.com/group/alt.journalism.photo/messages/21033.ht

Home Photography Photo Journalism Composition/Cro... Post 1 of 6 Topic 135 of 326 Composition/Cropping Critique Dec 6, 2003 at 12:23 PM http://www.edgehill.net/2003-1963-paul-doug Post 1 of 6 Topic 135 of 326 6 Posts in Topic: Composition/Cropping Critique Re: Composition/Cropping Critique Re: Composition/Cropping Critique Re: Composition/Cropping Critique ... Re: Composition/Cropping Critique mmaster891@[EMAIL PROTECT Re: Composition/Cropping Critique Post A Reply: About Advertising Contact Frequently Asked Questions ... Signup Tue Jun 8 5:28:31 EDT 2004.

48. Critique One example is the composition class. This class includes a critique of 24images from each student’s work during the final phase of the class. http://www.summitphotographic.com/critique.htm

Summit Photographic Workshops Professional Critique Services One of the most informative learning experiences we can have as photographers is to have someone else, another professional, look at our work and provide honest, helpful, detailed feedback about our progress with the technique and art of photography. We have been approached many times by workshop participants who wish to have their work critiqued, and we are pleased to make this service available when our schedule and yours coincides. This can occur in one of four ways. First, if you are a participant in any of our weekend or longer workshops where we have a motel room to sit down together, we will gladly look at one page of transparencies. We’ll provide a few thoughts and give you an overall statement at an appropriate time during workshop breaks. We can’t go into a great deal of detail or discuss each image separately because this will take time from the workshop. This is a quick 5-minute check on your photographic progress, and it allows you to keep moving in your chosen direction. This brief critique is helpful to us, too, because we can see what progress you’ve made since the last time we were in the field together. The second option occurs when you participate in a workshop that features a critique as part of the class. One example is the composition class. This class includes a critique of 2-4 images from each student’s work during the final phase of the class. Such a class will have the designation "group critique" in the class description. We have observed that all members of the workshop gain valuable insights into photographic composition by viewing the work of others and hearing them describe their goals and problems.

49. Photo Critiques composition Map In addition to the full written critique, you willreceive a composition map of your image. This is a great new http://www.naturesglory.net/maincritique.html

50. Photo Critique I am very critical when giving a thorough critique and I look at many Image Designand composition When looking at the design and composition of an image I http://www.naturesglory.net/photocritique.html

51. Analysis And Critique Analysis and critique. Click on the titles of her works to see the image JudithSlaying Holofernes c.1620. There are three figures in the composition. http://rubens.anu.edu.au/student.projects/artemisia/Analysis.html

Analysis and Critique The Myths and Legends of the Paintings of Artemisia Gentileschi Before a discussion of the paintings we would like to introduce the myths and legends surrounding the works. Artemisia Gentileschi painted many scenes depicting Biblical and mythological stories. The Baroque age excelled in representing dramatic and exciting allegories and Artemisia's work is amongst the finest of these. Some of these stories were better known to her contemporaries than they are today. An elaboration of these stories makes for an easier understanding of the paintings in the Picture Gallery. An interesting thought to consider alongside the explanation of these tales, is the choice made by Artemisia to paint scenes depicting heroic women and their relation to her own life. Susanna and the Elders Susanna was the wife of a wealthy Jewish man who lived in Babylon during the Exile. Susanna used to bathe in her garden, and one day two elder men of the community hid there and waited for her. Once Susanna was alone and naked, the two men revealed themselves and threatened her. They said that if she did not give herself to them, they would declare that they had seen Susanna commit adultery with a young man. This crime was punishable by death. Susanna resisted and she was tried in court and condemned to death. At the last moment Daniel, one of the prophets, came and cross examined the two elders, separately. He found their evidence to be contradictory and he thus proved Susanna's innocence. Artemisia's first signed and dated painting was her interpretation of this story.

52. Quodlibet Online Journal: Neo-platonic Infinity And Aristotelian Unity: A Critiq aims to critique the evidence for this reconstruction of Aquinas’ metaphysicaldevelopment. St. Thomas Aquinas expresses the metaphysical composition of http://www.quodlibet.net/meng-essence.shtml

Quodlibet Journal: Volume 3 Number 1, Winter 2001 ISSN: 1526-6575 http://www.Quodlibet.net Neo-platonic Infinity and Aristotelian Unity: a critique of W. Norris Clarke SJ’s reconstruction of Aquinas’ metaphysical development W. Norris Clarke SJ has brought to our attention the Neo-platonic inspiration behind what has traditionally been called the Aristotelian-Thomistic thought of St. Thomas Aquinas. [1] The tendency has since been to say that the notion of infinity as imperfection properly befits Classical Greek thought whereas the Medieval, Scholastic and Thomistic paradigm which posits an “infinite perfection” is in contradiction to this, and to trace the proper antecedent of this anti-Grecian paradigm of infinity to the Neoplatonic participationists. Buttressing and built on this hermeneutic is the claim that the Aristotelian act and potency schema in Aquinas’ metaphysics of limitation was introduced later to preserve the unity of beings. This paper aims to critique the evidence for this reconstruction of Aquinas’ metaphysical development. St. Thomas Aquinas expresses the metaphysical composition of beings in terms essence and of what he denotes as

53. FMP - Critique This month s critique is of Wib Dawson s painting Legends in Wood , and here s what Wibdid a nice job of cropping and simplifying the composition, by getting http://www.annkullberg.com/thank/critique.htm

November Issue 2002 Home Step by Step Critique Bookshelf ... My Desk This month's critique is of Wib Dawson's painting "Legends in Wood ", and here's what Wib has to say about himself as an artist. I've had a life-long passion for nature photography but only within the last two years have I attempted expanding my artistic horizons through coloured pencils. I've come to really appreciate the control and depth of expression possible through CP. Ann, Gary Greene, and others have provided lots of motivation to learn more. click on images for larger views So we have an altogether different sort of "portrait" this month! And it's sort of a welcome change, isn't it? Wib clearly has great drawing skills...and wonderful ability to render textures. Be sure to look at the piece in the enlarged version to see all of the wonderful detail he has included. You can actually see the details of the carving in the large version. Wib did a nice job of cropping and simplifying the composition, by getting rid of the busy background and isolating the totem pole. I'm assuming he left out the upper portion because it wasn't complete in the photo reference, so instead of making something up, he made the wise decision of just leaving it off.

54. Track Critique by vBulletin version 2.2.5 Future Producers Forums Production Techniques FilmScoring and Orchestration Track critique That is a very good composition. http://www.futureproducers.com/forums/showthread/threadid/68004

FRONT PAGE FEATURES FORUMS TUTORIALS ... Film Scoring and Orchestration Track Critique Pages (2): Dimora Warrior Member Registered: Feb 2004 Location: Earth Posts: 89 I know I already posted a similar thread in Recording, but I wanted to get more opinions on the people who frequent this forum a little more. This is the main theme for an RTS video game I've been working on. I know the sound quality is pretty crummy so I've been doing some homework to see if I can make it better, but I wanted to get peoples opinions on the track in general. My brother thinks the end is too fast. I think the very end (slow section) is lacking vertical depth... Here's the link to the mp3. http://no_music.tripod.com/Gnome_Gnation_Main_Theme.mp3 Looking forward to what anyone thinks ~Seek peace through peace My very temporary site is up! http://no_music.tripod.com/ 05-05-2004 07:42 PM report this post IP: Logged edit quote AaronF Warrior Member Registered: Dec 2003 Location: Posts: 58 That is a very good composition. It has a lot of depth to it. The quality of the samples is lacking like you said though, I'd try adding a little reverb to the mix.

55. Critique RUBRIC Student offers occasional comments on the artwork presented in the group critique.Student references some aesthetic criteria (form, composition, etc). http://whs.wiscasset-hs.wiscasset.k12.me.us/whs/Art/Assessments/CritiqueRUBRIC.h

Critique RUBRIC Name: C-1 Explain and justify personal aesthetic criteria for critiquing works of visual art. (ie: critiques of the work of peers, both the written component and oral presentation of that critique) Student presents an incomplete written component of the critique. Student is unable to present their critique of the project. Student offers no or few comments on the artwork presented in the group critique. Student references either the aesthetic criteria (form, composition, etc) OR the media and techniques used in the project, but not both. Student offers no personal interpretation of the meaning of the piece. Student partially completes the written component of the critique according to the product descriptor. Student is able to present their critique of the project. Student offers occasional comments on the artwork presented in the group critique. Student references some aesthetic criteria (form, composition, etc) Student references the media and techniques used in the project. Student offers no personal interpretation of the meaning of the piece.

56. STATEMENT DW035 This special SUMMARY critique is written by Dr. Gleason L. Archer, Jr various traditionalarguments for multiple sources and late date of composition for the http://www.equip.org/free/DW035.htm

STATEMENT DW035 A Summary Critique: Who Wrote the Bible? Richard E. Friedman (Summit Books, 1987) Hundreds of books are published each year concerning the historical origins and authorship of the Old Testament. What, then, is so significant about this book? It has captured the attention of the American secular media as few books in the field of biblical criticism ever have. Lengthy articles on the book have appeared in such magazines as U.S. News and World Report and such newspapers as The Wall Street Journal . The most sensational aspect of the book, written by Dr. Richard E. Friedman of the University of California at San Diego, is his suggestion that a woman wrote certain parts of the Old Testament, and this may be the main reason for the attention it has received. But the real significance of the book is that it is popularizing the “Documentary Hypothesis,” a theory originating in the 18th and 19th centuries which denies that Moses wrote the Pentateuch (Genesis through Deuteronomy) and which claims to find four major documents (J, E, P, and D), dating from after the reigns of David and Solomon, woven together in the Pentateuch. This special SUMMARY CRITIQUE is written by Dr. Gleason L. Archer, Jr., professor of Old Testament and Semitic Languages at Trinity Evangelical Divinity School in Deerfield, Illinois. Dr. Archer earned his Ph.D. at Harvard University, along with a B.D. from Princeton Theological Seminary. He is best known for his books

57. Why Critique The following fourstep process allows a critique of any artwork that places part,by itself, and the relationship between things and to the whole composition. http://academic.evergreen.edu/curricular/artlocal/WhyCritique.htm

Why Critique? The critique allows the artist to look at his/her work (or that of another artist) in an objective way. The artist is then able to "see" the work with fresh insight. This insight gives the artist a new direction in which to go with his or her work. Some artists work in series. They do one work, critique it, and create second, third, and fourth works because of the changes they decide upon during their critique process. How to Do a Critique? Easy as 1,2,3,4! The Presenter Prepare a short presentation of your artwork based on the following four questions. What is your intention? First ask yourself what were you thinking about before you began your piece. You were given the assignment and you got an idea or maybe visualized a plan, or had a concept about a particular thing you wanted to communicate. This is your intention. Describe it. What processes have you gone through between your intention and your final art work? Second, what steps did you take (and mistakes: happy mistakes or unhappy mistakes did you make) between your intention and your final product? Discuss them in detail, especially all the ways your piece evolved (grew) from that first intention. An art work often changes drastically during the creation process from the first intention. What elements of your art work are you most satisfied with? Why?

58. Critique - Part 3 Our critique. credence to a theorisation, in circulation, which asserts that war playsan instrumental role in decreasing the organic composition of capital and http://www.geocities.com/CapitolHill/Lobby/2379/crit3.htm

III Significance of the tendency of the rate of profit to fall Marx’s analysis Marx went on to show that growing accumulation of capital implies its growing concentration. Thus grows the power of capital, the alienation of the conditions of social production personified in the capitalist from the real producers i.e. the workers. Capital comes more and more to the fore as a social power, whose agent is the capitalist. In this ambiance what was made irreconcilable was the contradiction between the general social power into which capital develops, on the one hand, and the private power of the individual over those social conditions of production on the other. Our critique The scope of operation of the general law of the tendency of the rate of profit to decline was implicit but never explicitly stated. But the scope may be guessed at by considering the fact that the development of stock companies was included within counteracting forces. Translated to present day reality it means inclusion of almost total global capital, excluding a non-significant part, within counteracting forces! Given this meaninglessness of the ‘average rate of profit’, to say that ‘the tendency of the rate of profit to fall’ is ‘the law of capital’ is absolutely farcical. That this farce is widely enacted can possibly be explained as an ideology or apology for bureaucratic or management run capitalism.

59. Voyager - GFXartist.com - Over 36,000 Pages Of Digital Expression Member critiques, Re Voyager. GoTo 05/02@883, edit critique. This cropped versionreally ruins the composition, so check out the full version. Not that much.. http://www.gfxartist.com/community/member_galleries/artworks/50389

Keep me logged in Not registered yet? Why should I register? Sign up now! Members: 23241 Elite members: 70 general news saywhat!? pic of the day forum ... my artworks Voyager Voyager Painting Nature DigitalPlazma critiques views (378) Description Photoshop CS + Bryce 5 All in all, this took about three hours. The bryce render was heavily modified, and given the almost exclusively 2D nature of this piece, I deemed it a painting and not a render. Be sure to check out the full-size version! UPDATE: I modifed the image slightly as per some of the suggestions here, as well as just because. The planet surface is not more detailed, but more contrasting, and the ship's engine contrails are now orange and no longer have the dark matte. UPDATE AGAIN: I modeled a craft much more to my liking and incorporated it into the design. The body of the craft didn't turn out so hot, but I love the nacelles. The link is below. Vote statistics Score: 83 (12) Amount: 15 (2) Cast your vote You have to be logged in to vote Downloads and full versions Different version Full version Older version Member critiques Re: Voyager GoTo edit critique "This cropped version really ruins the composition, so check out the full version."

60. ARTSEDGE: Listen To The Nightingale Two 45minute periods. Instructional Objectives Students will identify,define, and apply music vocabulary when asked to critique a composition. http://artsedge.kennedy-center.org/content/2250/

document.pageDescription='Students learn music vocabulary and use it to assess music from The Nightingale.'; About Us Feedback Search A RTS ... Lessons This Lesson at a Glance: Grade Band: Integrated Subjects: (click to view more lessons in these areas) Music Language Arts Materials: For the teacher: Assessment Rubric Related WebLinks: Musictheory.net Targeted Standards: The National Standards For Arts Education: Music (5-8) Standard 6: Listening to, analyzing, and describing music Music (5-8) Standard 7: Evaluating music and music performances Music (5-8) Standard 8: Understanding relationships between music, the other arts, and disciplines outside the arts Other National Standards: Language Arts III (6-8) Standard 1: Uses the general skills and strategies of the writing process Language Arts III (6-8) Standard 2: Uses the stylistic and rhetorical aspects of writing Icon Legend: = part of the current spotlight = opens in a new window = kid-friendly = printable = interactive = audio = video = images Listen to the Nightingale Lesson Overview: In this lesson, students learn music vocabulary and use it to assess David Maddox's music from

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