I. Composition (1–38)Please select a specific question…… 1. Main subject remains centered: The main subject is placed in the center, with the image appearing steady and lacking tension or visual guidance. 2. Subject is too small: The subject is too small in the image, drowning out the background. 3. Obtrusive subject: The subject is crammed into the frame, leaving no space around it, making it appear crowded. 4. No visual focus: The image is uniformly focused throughout, and the viewer has no idea where to look first. 5. Too many focal points: Multiple elements compete for attention, making the image appear cluttered. 6. Lack of size comparison: All elements are of similar size, without any hierarchy. 7. Obstructing the foreground: The foreground object is too large or too realistic to obstruct or interfere with the subject. 8. Overly cluttered composition: Elements are crammed into the picture, creating a sense of oppression without any breathing space. 9. Poor composition: Large areas of white space are left without any intention, making the image appear empty and unfinished. 10. Center of gravity imbalance: One side is too heavy, while the other side is too light; the picture feels "disoriented." 11. Centered Horizon: The horizon divides the image into two equal parts, making it monotonous. 12. Average screen division: The color blocks and the dark and light areas are equal, lacking a clear distinction between the main and secondary elements. 13. Negative space shapes are unsightly: the gaps between objects are awkward and detract from the overall aesthetic appeal. 14. White space placement is incorrect: the space is left behind the subject rather than in front of the line of sight or the direction of movement. 15. Improper corner processing: The corners of the image are hollow or repetitive, lacking variation and cohesion at the edges. 16. Improper cropping ratio: The aspect ratio of the painting does not match the subject matter; for example, a wide landscape is displayed on a narrow vertical canvas. 17. Element arrangement at equal distances: Objects are spaced at equal distances and of equal size, with a mechanical rhythm. 18. The repeating elements remain unchanged: a row of trees and a group of birds have the same size and shape; it’s like copying and pasting. 19. Elements aligned: All characters or objects are aligned in the same direction, making the scene monotonous. 20. The group stands in a row: the figures are arranged in a neat line, lacking the sense of continuity and interaction between the front and back. 21. Oblique objects: The edges of two objects meet exactly, forming a visual "bond." 22. Objects lack any form of obstruction: the objects do not overlap with each other, and the spatial relationships are flat. 23. Frontal and back scenes are indistinguishable: there is no clear spatial hierarchy; the picture looks like a flat panel. 24. The lines are disoriented: the lines and motion in the image conflict with each other, lacking a unified direction. 25. Too many horizontal and vertical lines: The image is cluttered with horizontal and vertical lines, making it look stiff and boring. 26. Too many diagonal lines: The horizontal elements are too numerous, and the image loses its sense of stability. 27. The line of sight leads out of the painting: the line of sight of the character or the direction of the road leads out of the painting, and the attention is drawn away from it. 28. The guiding line points to the secondary: roads and lines lead the eye to unimportant places. 29. The box frame is used improperly: the interior frame, such as doors and windows, is too conspicuous and distracts from the main subject. 30. Improper cutting: The object is placed right against the edge of the frame, or is cut off at the joints or fingers, causing a distorted appearance. 31. Edge interference elements: Obtrusive small objects appear at the edges of the screen, drawing the viewer’s attention away from the image. 32. Tridimensional composition is crude: the figures or objects are deliberately arranged in a triangular shape, making them appear artificial. 33. Abusive diagonal composition: Each painting uses diagonal composition to create a pattern. 34. The S-shaped layout is contrived: forcibly drawing rivers and roads in an S-shaped shape does not correspond to the actual landscape. 35. Choosing a flat perspective is mediocre: the overall perspective is flat, lacking the dramatic effect of a bird's-eye view. 36. The composition and mood do not match: the intense subject matter uses a stable symmetrical composition, lacking expressive power. 37. The composition of the series is similar: the composition of the same series is almost the same, lacking any variation. 38. Not creating a draft of the composition: I directly went on to the main draft without comparing multiple composition options.
II. Color (39–76)Please select a specific question…… 39. Color becomes dirty: too many mixed colors or improper color blending, resulting in decreased purity and blurred image. 40. Color is too "brilliant": using the primary colors directly in the tube without blending them together makes the color appear glaring and harsh. 41. Using black to darken: Using pure black to deepen the color, the dark areas become dull and lack color perception. 42. Use white to enhance the color: Just adding white will make the color look powdery and gray, losing its luster. 43. Color palette confusion: The pigments are contaminated with each other, making it impossible to obtain clean colors. 44. Dependence on a straw to select colors: Digital painting directly extracts colors from photos, lacking subjective refinement. 45. No primary color: The cold and warm colors are independent of each other, and there is a lack of a unified color tendency overall. 46. Too many colors: Vivid colors are everywhere, canceling each other out, losing their focus. 47. High purity color area is too large: Bright colors occupy a large area, causing visual fatigue. 48. Too much gray: The overall gray tone lacks a pop of color that would give the image life. 49. No level of purity: all colors are of the same purity, lacking a strong contrast between the colors. 50. Unbalanced color ratio: The proportion of primary colors, secondary colors, and accent colors is incorrect, resulting in an unbalanced image. 51. Color does not harmonize: a certain color appears only once, without any connection to the rest of the image. 52. The color blocks lack transition colors: the two colors are sharply juxtaposed, lacking a middle color to connect them. 53. Color theory understanding is one-sided: it only uses complementary colors for contrast, lacking other color-matching methods. 54. Complementary colors placed in equal quantities: the complementary colors have similar areas; the image is glaring and inconsistent. 55. Adjacent colors are too close together: the color difference is too small, the picture is dull and lacks distinction. 56. Confusion between brightness and purity: The assumption that deepening means making the color brighter is a mistake in color relationships. 57. Ignoring simultaneous contrast: Different effects are observed when the same color is placed in different backgrounds, yet they are not noticed. 58. Lack of temperature and humidity relationship: Only the light and dark changes, without any contrast between warm and cold. 59. Cold and warm tendencies are single: the light and dark areas are all warm or all cold, lacking contrast. 60. Local temperature and color changes: The color in some places suddenly changes from cold to warm, and it does not harmonize with the surrounding area. 61. Different light sources have different color temperatures: the light colors in different areas of the same scene are inconsistent. 62. Night scenery just becomes darker: the night scenery only reduces the brightness, lacking the color characteristics of moonlight and light. 63. Dark areas are not breathable: The dark areas are thick and cloudy, lacking transparency and color tendencies. 64. Shadows are always rendered in gray: The shadows are just gray or brown, lacking rich color variations. 65. Innate color thinking: Only paint the colors that "seem" to be there, ignoring the influence of the light source color and the environment color. 66. Color absence: Objects do not reflect or reflect back any color, making them appear isolated. 67. White objects are rendered as pure white: ignore the ambient colors and the changes in brightness on the white objects. 68. Black objects are drawn in pure black: Black objects lack reflectivity and color tendencies. 69. The sky has a single color: the colors from top to bottom lack natural gradations. 70. Plant greens are tough: using packaged greens directly is like "spinach green"; it lacks richness. 71. Incorrect water surface color: The water surface color does not reflect the sky and the surrounding environment. 72. Uniform skin color: The character's skin has only one color, lacking the warmth and coldness and the changes in blood color. 73. Colors and emotions are out of sync: The cheerful theme uses dull colors, or vice versa, expressing an incongruous message. 74. Misuse of color symbolism: Ignoring the meaning of colors in specific cultures leads to misinterpretation. 75. Color variation between wet and dry areas is not predictable: the pigment becomes lighter or darker after drying, resulting in an inconsistent final effect. 76. Not creating color thumbnails: Without first determining the color scheme, changing the colors as you go creates confusion.
III. Modeling and Sketching (77–114)Please select a specific question…… 77. Improper proportion: disproportionate head-to-body ratio, facial proportions, or object proportions. 78. Perspective error: the vanishing points are not uniform, and the objects appear distorted or "floating". 79. The contradiction between large and small perspective: improper handling of near and far distances leads to a chaotic spatial relationship. 80. There is a lack of detail near the far end: The size difference between distant and near objects in deep scenes is too small. 81. Previous perspective distortion failed: The arms and legs of the viewer were stretched out, and the proportions were strange. 82. The vertical lines of the building are skewed: the vertical straight lines are not perpendicular, and the building looks crooked. 83. Cube perspective error: The cube's edge lines do not converge at the vanishing point. 84. Incorrect cylindrical structure lines: The ellipse perspective of the cylindrical top and bottom is inconsistent. 85. Elliptical drawing is incorrect: the tips of the ellipse are drawn at the two ends, such as the cup mouth and the bottom of the bottle, or the perspective angles are inconsistent. 86. Still objects are unstable: the bottom of the bottle or jar is distorted, making it appear tilted or hanging. 87. Structure is unclear: only the outer outline is drawn, and the internal structure is not understood; the shape is soft and loose. 88. Lack of sequential relationships: there is a lack of continuity between the forms; the structure is loose. 89. External outline is flat: The outline line lacks any changes in elevation, and the body is rigid. 90. The contour lines are equally thick: the lines are not emphasized or emphasized, and the image is flat and lifeless. 91. No negative shape observation: Only observe the object itself, without using surrounding blank space to correct the shape. 92. Don't cram too many details: If you don't get the size right first, you'll end up cropping out details and the more you draw, the more mistakes you'll make. 93. Excessive geometricization of forms: Overly generalized, losing the gentle variations of natural forms. 94. Conceptualization of forms: Using memory to apply symbols (such as five-pointed star-shaped leaves), lacking observation. 95. Excessive symmetry: Painting natural objects too symmetrically loses their liveliness. 96. Anatomical errors: incorrect muscle and joint positions, and actions that cannot be trusted. 97. The twisting of the torso is unreasonable: the relationship between the thorax and the pelvis is not in accordance with human anatomy. 98. Incorrect shoulder joint alignment: The shoulder joint structure is unclear, and the arm looks like it was attached on the spot. 99. Wrong leg length ratio: Legs are too short or the knee position is incorrect, and the proportions of the figure are out of balance. 100. Neck disproportion: The neck is too thin, too long, or too short, and the head and neck do not connect naturally. 101. The proportion of children drawn incorrectly: Drawing children using adult proportions makes them look like smaller adults. 102. Poor drawing of hands and feet: Avoiding or simplifying the hands and feet makes them a significant weakness in the work. 103. Dynamic stiffness: The character’s posture is like a puppet, lacking center of gravity and dynamic lines. 104. Unstable center of gravity: When a person stands, the center of gravity is not on the supporting foot; they appear to be about to fall. 105. Uneven folds: The folds do not follow the body structure and the forces exerted, resulting in a disorganized appearance. 106. Rotation of the head causes distortion in the perspective of the facial features: when turning to the side, the facial features are still drawn in the same position as in the front view. 107. Uneven eye alignment: The size, height, and direction of the eyes are not consistent. 108. Only outline the nose: Draw the nose with a line; it lacks volume and the dark and light areas are not well defined. 109. Lips are drawn too realistically: The lip line is too thick and overdone, it looks like it was pasted on. 110. Incorrect ear position: The ears are not positioned correctly, either high or low, or front-to-back; the head structure is deformed. 111. Drawing each hair individually: Ignoring the overall texture and the dark/light groupings of the hair. 112. Rigid facial expressions: The expressions are unnatural or lack connection between the features; the characters lack expression. 113. Structural errors in animals: incorrect understanding of joint direction and skeletal structure. 114. Plant forms resemble each other: the leaves and branches have identical shapes.
IV. Light and Space (115–146)Please select a specific question…… 115. Illumination is inconsistent: the direction of illumination of different objects is inconsistent, resulting in a chaotic visual appearance. 116. Confused by multiple light sources: The relationship between the brightness and projection of multiple light sources is contradictory. 117. The light and shadow do not match: the midday sun creates a long projection, or the evening light is too cold. 118. Logical error in indoor lighting: The position of the windows is inconsistent with the direction of light penetration into the interior. 119. Inverse light processing failed: The relationship between the light in the foreground and the dark area was handled incorrectly in the inverse light mode. 120. Side light contrast is insufficient: The side light should be clearly divided into light and dark, but it is drawn in a bland manner. 121. The highlight effect is strange: The shadows under the eyes and the nose are poorly handled, causing distortion in the face. 122. The lights are not emitting light: the lights and flames in the image lack a sense of light and are not shining on their surroundings. 123. Halo glow abuse: Excessive use of lighting effects makes the image look cheap. 124. Volume light distortion: The beam shape is rigid, lacking the gradations and textures in the air. 125. The levels of darkness and light are insufficient: there are only two levels of brightness and darkness, lacking a middle tone, and the sense of volume is weak. 126. The tonal range is incomplete: it lacks bright areas, dark areas, the transition between light and dark areas, reflections, and certain levels in the projection. 127. The black-and-white-gray ratio is inconsistent: the overall brightness distribution is scattered, and the picture does not form a whole. 128. The screen is too bright or too dark: the overall brightness is skewed to one side, lacking contrast and variation. 129. The boundary between light and dark is blurred: there is no delineation at the points of body transformation, and the objects lack volume. 130. The dark area is too dark: The dark area is completely black, lacking in breathability and details. 131. Overexposed highlights: Highlights are over-lit, losing detail and texture. 132. Excessive reflection: The dark area has more reflection than the light area, which distorts the volume. 133. High-gloss spots: The placement and number of high-gloss spots are at your discretion; the texture is inconsistent. 134. The strongest contrast is not in the subject: the strongest contrast between light and dark occurs in the secondary position of the image. 135. Projection error: The shadow direction, shape, or appearance does not match the light source. 136. The projection is not two-dimensional: the projection edges are equally clear, and the near-real and distant parts are not shown separately. 137. Lack of contact shadow: There is no dark area at the point of contact between the object and the ground, making it appear suspended. 138. Lack of cloud shadows: The lack of cloud shadows on the ground in large-scale scenic scenes creates variations in brightness and darkness. 139. Illumination and shadow effects on transparent objects are incorrect: the refraction of glass and water and the high-gloss finish are not correct. 140. Misalignment of reflective objects: The reflection of metal and mirrors does not match the environment. 141. Lack of perspective: The distant and near views are equally clear and bright, without a sense of depth. 142. Depth is achieved by shrinking: spatial perception is achieved by shrinking objects; there is no change in brightness, color, or clarity. 143. No distinction between real and imaginary: everything is drawn clearly and sharply, with no emphasis on order or spatial progression. 144. Poor depth of field rendering: The emptiness of the background is not genuine, and the reality is distorted, resulting in a cluttered sense of space. 145. The dark area blends into the background: the brightness of the subject's dark area is the same as the background, and the outline disappears. 146. Low silhouette recognition accuracy: The subject's silhouette is not clear, and it is not recognizable from a distance.
V. Brushstrokes and Techniques (147–178)Please select a specific question…… 147. Sparse brushstrokes: Small brushstrokes are repeatedly applied, resulting in a fragmented and lacking overall sense of the picture. 148. Contouring direction is inconsistent: the contour does not follow the structure of the body, weakening the overall design. 149. The brushstrokes lack rhythm: the weight of the strokes, the speed and the smoothness of the movements are inconsistent, and the picture lacks vividness. 150. The brushstroke and the drawing size do not match: a small brush is used for a large drawing, and a large brush is used for a small one; the proportions are out of balance. 151. Brush selection is limited: Only one or two brushes are used to complete the entire painting; there is no variation in the brushstrokes. 152. Line hesitation: Lines are discontinuous and drawn repeatedly, lacking certainty and fluidity. 153. Linear drawing rhythm is monotonous: the line speed and thickness are consistent, lacking rhythm. 154. The wiring direction is inconsistent: the wiring diagram does not follow the shape of the body, making it look messy and cluttered. 155. The brushstroke technique is inconsistent: mixing the central, side, and reverse strokes is not systematic, and the lines lack intensity. 156. Overly thick start lines: The start lines are too deep and rigid, making it difficult to modify and overwrite later on. 157. Improper use of the background color: The background color conflicts with the overall color scheme of the image, or it is not used to unify the overall image. 158. Overdoing the color scheme is too slow: It takes too long to apply the overall color scheme, and the details are drawn very fine but the relationships are not right. 159. Rapid sketching is too meticulous: when sketching, you’re still adding details, which leads to a loss of the overall outline and vitality of the drawing. 160. Repeatedly modifying the image leaves a trace: excessive modification leads to a dull, boring, and dirty appearance. 161. Thick paint without purpose: The accumulation of pigments is not intended to be displayed; it is merely the result of repeated coverage. 162. Thin layers of paint: The paint is too thin or too little, making the picture appear light and lacking depth. 163. Confusing wet-and-dry painting techniques: The timing of using these techniques is incorrect, and the results are difficult to control. 164. Layer stacking fails: watercolor layers overlap repeatedly, causing dirt to accumulate, or oil painting is compressed too tightly, resulting in cracking. 165. Watercolor runs out of control: unwanted water spots, smudges, and puddles appear. 166. Watercolor white space mistakes: The highlights left in the painting weren’t retained, and it was impossible to correct them later on. 167. Too much oil paint: The pigment is thin and runs, and it is easy to wrinkle or lose its luster when dry. 168. The razor blade is used with rough edges: the razor blade marks are mechanical and do not harmonize with the rest of the image. 169. Over-rubbing the brush: When sketching, the paper and brush are repeatedly rubbed together, causing the painting to become dull and dusty. 170. Excessive color blending: The transitions are smooth everywhere, the picture looks like plastic, and there is a loss of sense of power. 171. The screen is too "smoothed out": the pursuit of smoothness and refinement has lost the vividness and rhythm of the brushstrokes. 172. Single edge processing: All edges are the same hard or soft, lacking variation. 173. No difference in texture: the skin, metal, fabric, and glass all give off a distinct feeling. 174. Abusive texture creation: To achieve a thick texture, it has nothing to do with the content. 175. The collage is poorly connected: the seams between the different materials are awkward and lack uniformity. 176. Displaying Techniques: Techniques take center stage, overshadowing the message the work intends to convey. 177. Layer management is chaotic: There are too many digital painting layers without naming, making it difficult to modify. 178. Excessive reliance on cancellation: In digital painting, the repeated cancellation and re-painting lead to the loss of confidence in the lines.
VI. Materials and Media (179–208)Please select a specific question…… 179. Improper materials: poor quality paper, canvas, and paint can affect the effect and durability. 180. Low-quality pigments: There are too many fillers and the color is weak, resulting in insufficient saturation of the color. 181. Pigment deterioration: Using expired or dried pigments leads to a decrease in color and performance. 182. Pigment fading: Using pigments with poor lightfastness, the work will change color over time. 183. Size is limited by the material: Due to the material size limitations, the ideal print size cannot be achieved. 184. Improper base material: The base material is either too little or uneven, resulting in inconsistent pigment absorption. 185. The canvas is stretched too loosely: the canvas is saggy and uneven, affecting painting and long-term preservation. 186. Paper wrinkles: Watercolor paper that has not been mounted properly or is too thin will deform after absorbing water. 187. The quality of the prepared paper varies: the pen and ink used for the brushwork are fresh, while those used for the ink drawing are aged; the results are not ideal. 188. The medium’s characteristics are not fully utilized: watercolor painting produces oil painting effects, but loses the charm of the medium itself. 189. Incorrect ratio of media: Too much or too little of the adjusting agent leads to cracking, sticking or fading. 190. Oil paintings cracking: Violating the "fat cover thin" principle, or improper drying time treatment. 191. Applying oil too soon: Applying oil when the paint is not completely dry causes cloudiness or cracking. 192. The acrylic dries too quickly: there is no time to make a smooth transition, and the image has rough edges. 193. Water-based color blending: The upper layer and the bottom layer mix together, resulting in a dirty image. 194. Color powder fading: If the fixing is not done properly, the work will fade or become blurry. 195. Colored pencil pressed wax glows: Excessive pressure causes the wax to reflect light, making it impossible to continue layering colors. 196. Mark pen seepage color: The paper is unsuitable or there is too much overlapping, causing the colors to disperse and lose their control. 197. The color shades are insufficient: the intensity, brightness, and dryness vary little, and the picture lacks a sense of rhythm. 198. Composite materials are incompatible: the chemical properties of different materials conflict, resulting in peeling or discoloration. 199. Cracking of sculpture materials: clay sculptures shrink unevenly during drying, resulting in cracking and deformation. 200. Pottery deformation: The thickness of the body is uneven or the temperature control is improper. 201. Uneven print quality: The printing pressure is uneven, and the image has varying levels of depth and brightness. 202. Overly post-processing in photography: excessive color adjustment, sharpening, and distortion of the image. 203. Excessive reliance on filters: A proliferation of filters and effects, lacking the personal touch of hand-drawn art. 204. Screen and print color difference: The display is not calibrated, and the color deviation printed out is very large. 205. Neglecting material toxicity: failure to use protective equipment when using toxic solvents or pigments. 206. Material waste and environmental protection: Excessive use of non-recyclable materials and lack of environmental awareness. 207. Improper preservation of the work: Moisture, exposure to the elements, and the absence of protective layers have caused damage. 208. Insufficient transport protection: Improper packaging caused damage to the work during transportation.
Seven, Theme and Content (209–238)Please select a specific question…… 209. The theme is unclear: it is not clear what the artist wants to express, and the image lacks a central focus. 210. The subject matter is too broad: the theme is too vast to be grasped, and the work is superficial. 211. Repetitive subject matter: Repetitive common themes without new perspectives or new interpretations. 212. The theme repeats repeatedly: it remains centered on the same topic without deepening or introducing new ideas. 213. Too much content: There is too much to express, and the result is that nothing is said clearly. 214. Audience positioning is unclear: it is unclear who the work is intended for and the direction of the expression is inconsistent. 215. Lack of contemporary relevance: The work is unrelated to current reality and appears outdated. 216. Lack of life observation: detached from real experience, the works appear abstract and conceptual. 217. Lack of preliminary research: lack of understanding of the subject matter, distorted details, and shallow expression. 218. Source of inspiration is limited: they only look for inspiration in online images, lacking any real-life experience. 219. Historical details are incorrect: the clothing, architecture, and artifacts do not match the historical era. 220. The props do not match the era: items in the scene appear out of place in the context of the era. 221. The scene lacks realism: the imagined scene lacks life logic and is not believable. 222. Improper appropriation of culture: the arbitrary borrowing of other cultural symbols without understanding or respect. 223. Narrative confusion: the story lines in the image are unclear, and the viewer cannot understand them. 224. The choice of narrative moments is poor: the plot moments chosen lack tension. 225. Unclear character relationships: In many multi-character scenes, the relationships between the characters are unclear. 226. Emotional emptiness: The technology is complete but lacks real emotion, unable to move people. 227. Excessive emotional expression: The expression of emotions becomes out of control, resulting in works that are merely a form of self-expression. 228. Expressing too much intimacy: the personal experience is closed off, making it difficult for the audience to enter into and resonate with it. 229. Lack of ease and humor: Always serious and one-dimensional in expression. 230. Avoiding conflict: The work deliberately avoids conflict and tension, and is therefore bland and uninteresting. 231. Social issues are superficial: they touch on social problems but remain at the level of slogans. 232. The symbolism is too straightforward: the metaphor is clumsy and full of preaching intent, lacking any space for imagination. 233. Symbol overload: a large number of symbolic symbols are superimposed, with meanings interfering with one another. 234. Intentionally and deliberately making it appear profound: using obscure forms to conceal the emptiness of the content. 235. Concept trumps the work: the idea is great, but the visual presentation cannot support the concept. 236. Subject and medium are incompatible: the chosen medium is unable to effectively convey the subject matter. 237. Title and work are disconnected: the relationship between the title and the content of the image is weak or over-explained. 238. Inappropriate interpretation: lack of creative explanation, or excessive textual explanation that overwhelms the main point.
Eight, Style and Personality (239–269)Please select a specific question…… 239. Unclear style direction: Even the artist herself can’t figure out what style she wants, and her work is inconsistent. 240. Uncoordinated style: The style of the same series jumps from one work to another, lacking consistency. 241. Stagnation of style: Repeatedly using the same formula for a long time leads to a loss of freshness in the work. 242. Style transformation breaks down: the style changes, and there is a lack of internal connection between the previous and the following works. 243. Lack of continuity: the works are scattered, unable to form a complete narrative of the creative process. 244. Technology and style are out of sync: The desired style exceeds the technical capabilities, and the results are unsatisfactory. 245. Imbalance in personality and basic skills: Basic skills are solid but lack personality, or personality is present but the foundation is weak. 246. Imitation marks are heavy: Excessive imitation of a master or a popular style of painting lacks a personal touch. 247. Trend following: blindly following the current popular style, works can easily become outdated. 248. Trendy Netizen Style: Following social media trends and aesthetic standards, resulting in homogenized works. 249. Catering to the market: Excessive pursuit of commercial pop elements leads to a loss of personal expression. 250. Dependence on photographs: The composition and lighting of the photographs are copied, and the work lacks the artistic quality of painting. 251. AI traces are evident: Overreliance on AI generation results in works lacking personal judgment and a sense of touch. 252. Style over style: deliberate deformation or exaggeration, without any underlying logical support. 253. Realism vs. Decoration Conflict: The realism and decoration parts are mismatched and inconsistent. 254. The cartoonization is not complete: it is semi-realistic and semi-cartoonish, in an awkward middle state. 255. Abstract works lack logic: they lack a formal structure and appear haphazard. 256. Minimalism is hollow: Simplifying too much leads to a work lacking substance and power. 257. Expressionist distortion: Pursuing free expression but losing control. 258. Super-realism is just showmanship: meticulous realism but lacking in thought and emotion. 259. A combination of Western and Eastern elements: the elements from the East and the West are simply superimposed without any integration. 260. Personal language is weak: the work cannot be identified among a pile of other works. 261. Abuse of personal symbols: When iconic elements are used excessively, they become repetitive. 262. The signature style is inconsistent: the size of the signature and the font are not in harmony with the style of the work. 263. The collection of works is inconsistent: the quality of the works varies greatly, and the overall presentation is unprofessional. 264. Lack of aesthetic judgment: unable to distinguish between good and bad works, making it difficult to improve oneself. 265. Closed-door thinking: Rarely look at exhibitions or art books; one’s horizons are narrow. 266. Studying only one system: For a long time, you only study with one teacher, limited by a single perspective. 267. Refusing to try new mediums: afraid of failure, remaining in the familiar field for a long time. 268. Lack of creative methods: entirely based on intuition, lacking a sustainable creative process. 269. Excessive concern with evaluation: Losing one’s self when one’s opinions frequently change direction due to others’ constant changes.
9. Completion rate and overall performance (270–300)Please select a specific question…… 270. Initial work was sloppy: There were no preliminary sketches or drafts, and the direct transition to the final draft led to repeated revisions. 271. Lack of creative plan: There is no step-by-step planning from the initial draft to completion, resulting in inefficient work. 272. Giving up halfway: Giving up when facing difficulties, resulting in a backlog of unfinished works. 273. Rush job completion: To finish the work in time, the quality of the work decreased. 274. Endless modifications: Repeated changes that take too long to complete. 275. Over-painting: We don't know when the pen was stopped, and the excessive detailing has ruined the vividness of the painting. 276. Disconnection between the local and the overall: focusing on the local aspect alone, neglecting the overall relationship. 277. Insufficient completion: the details are partial and the rest is sloppy; the picture is unbalanced. 278. Average detail: All places have the same level of detail, with no variation in tone. 279. Partial capture of the subject: The secondary parts are well-drawn, but they weaken the subject. 280. Modifying to disrupt unity: After being modified in parts, it no longer fits well with the surrounding environment, resulting in a fragmented image. 281. Background Detail: The background is applied randomly, and it is disconnected from the main subject. 282. The subject is detached from the background: the subject appears to be "sticking" on the background, lacking integration. 283. The visuals lack rhythm: the changes in contrast, size, and brightness and darkness are monotonous, making them look dull. 284. Lack of self-reflection: Without back-and-forth review and photo inspection, it is difficult to spot problems. 285. Only looking at the near area: Never look at the distance; the overall relationship is out of control. 286. No light adjustment check: Only look at the painting under one light source; the effect changes when the environment is changed. 287. Non-inverted inspection: No mirror or flipped image inspection is required; no body shape deviations were detected. 288. Lack of retrospective analysis: After completing a work, there is no reflection on the gains and losses, and the same problems keep recurring. 289. Leftover Draft Lines: When completed, there may still be excess pencil lines or draft marks visible. 290. Edges are not clean: There are stains and fingerprints on the edges of the image and in the blank spaces. 291. Incorrect signature location: Signature is too large, too conspicuous, or in a prominent location. 292. Undried work should be stored immediately: if the work is not completely dry, it should be stacked or packaged to prevent adhesion and damage. 293. No photo archiving: No high-quality images are recorded after the work is sold or damaged. 294. Artifacts in archived photos: The timing of the shots is off, and the white balance is incorrect, resulting in distorted records. 295. The title of the work is arbitrary: the title is haphazard and cannot help the audience understand the work. 296. Information on the work is missing: no basic information such as dimensions, materials, or creation time is recorded. 297. Improper framing and display: the frame, backing paper, and lighting are inappropriate, which weakens the effect of the artwork. 298. The display method is inconsistent: the display format and the work’s temperament are not in harmony. 299. Displaying light color bias: The light color temperature is inappropriate, and the color of the work is distorted. The 300 series exhibits are arranged in a chaotic manner: the arrangement of the works in the exhibition lacks logic and rhythm.
