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The Art of The Critique

by Paul Armstrong

Any good designer will tell you that their designs have no personal attachment to them. This may be partially true. All designers infuse their personality in all their work (unless it happens to not be their work; but that's an entirely different matter). When working in a studio or multi-designer environment the work that you poured your thoughts, time and (sometimes) heart into can come under attack in The Critique.

The Critique is usually an informal conference or gathering where a group of people look at concepts and propose ways of improving upon that concept. There are many ways a critique goes down, but here are a few ways that I have seen, been subjected to and occasionally been guilty of:

• The "I Didn't Design It So I Hate It" Critique A studio can be a very hostile environment. Surrounded by designers competing for that one client that will allow them to reach their design glory and fame, mixed with dashes of artistic moodiness and ego makes for a explosive mix; especially on critique days. 80% of the time, this is what embodies the critique. Passive aggressive comments about color, layout, the over-done nature of the design and that is overall "sucks".
• The "Crop Dusting" Critique The preferred studio environment is that of open spaces and work areas. Whoever thought of this ought to be shot. This "open" environment instills as sense of discomfort, lack of privacy and paranoia in the designer. Usually an art director (often unrelated to the specific project) will walk by, see your design, and make a passing and uninformed comments; such as "I don't like that at all", or "That sure needs some work". These comments are neither constructive (they give no concrete direction of change for the designer) or informative (the concepts are usually being worked on, not meant for critique, thus exasperating the designer).
• The "Vague and Pointless" Critique The main focus of a critique should be to clearly, calmly and constructively give the designer the tools to improve upon their concept -- through color, layout, grid or element suggestions. Often the commentary ranges from wildly over dramatic ("I hate this color palette, I see it all the time on everything"), to objectively unimportant ("I'd like to see more organic floaty thingies").

Many critiques fall into one or all of these categories, mostly because we are never taught how to give a meaningful and useful critique. Here are a few of my rules that I follow when critiquing work:

1. Know the client parameters of the design If the clients objectives, needs and goals aren't readily know or told to you, ask the designer or art director what those are. Without that, your critique will be baseless and often unhelpful. It's better to keep your mouth shut than to suggest something that isn't within the scope of the project ("I'd like to see this the brochure larger and in full color", when the client had asked for a 2 color mailer).
2. Open with what you like about the design You know what your mom always told you, if you can't say something nice then don't say anything at all. Always open a critique with the at least 3 things you like about the design. Positive encouragement helps bolster the confidence of the designer, while making them receptive to hear your criticisms. It also makes you search further than your gut reaction (stripping away your personal preferences).
   
   Discussing things that are merely based on your likes and dislikes are unimportant. So what if you don't like Univers Ultra Thin or background gradients, rather than inject your personality into the critique think about why it is that you don't like those things before opening your mouth. Informed opinions, coupled with reason and evidence will not only allow you distance your opinion from fact, but open discussion, education and/or dialog. If you don't have evidence or fact, then learn it (read books on design theory, design history, typography and current trends so that you'll better understand your own likes and dislikes and how to communicate them).
3. Explain what and how you'd improve the design, not what you don't like If you like having enemies and hostility in your workplace then just list everything you don't like about the design. Not only is it harsh, but it comes across as petty and mean spirited. Rather than list what you dislike (which is usually opinion based), talk about what you'd improve and how you'd improve the design.
   
   The "how" is very important. Discussing how you might improve the concept allows for an open dialog on design but gives tools and means for the designer to improve the concept. Point out overused or cliched visual device, discuss the color palette and how it accentuates to the tone and mood of the project, observe balance, white space, hierarchy and informational importance. Your how can turn a concept from mediocre to excellent, especially when done well.
4. If you love it, then say so Just because its a critique doesn't mean you have to find things to dislike or pick apart. If you like it, then say so. Say what you like and why you like it and then shut your mouth.

If you keep some of these techniques in mind you'll begin to critique with more effectiveness, receptivity and team work; and maybe educating yourself and others around you.

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Paul Armstrong

paul@thechurchbox.com

Paul Armstrong a photographer, a designer, a husband, a father, a writer, a reader, a wander, a daydreamer, a procrastinator, a stone thrower, a collaborator, a consumer, a follower and seeker. Paul has over 10 years of experience in the graphic design world; 6 of which have been operating his own studio, Wiseacre Design. His work reflects a desire to not only capture life, but engage a viewer in a journey that tells a story and escapes the limit of the moment, whether that's through design or photography.

Over the past 5 years Paul has developed into a skilled and distinct photographer — infusing humor and drama with a keen sense of design and structure in each photo while exploring the limits of the medium. If there is one rule Paul lives by, its that nothing is impossible, no idea not worth exploring, and no story to simple not to tell

He has worked with Four Corners Church for 4 years helping them create and communicate effectively through their design work.

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