Poor sense of scale relationships (proportion), placement or shape-state awareness – generally the result of sequential assembly. It also suggests a weak grasp of the need for relating activities in one part of a drawing to those in another part.
Conflicting perspectives – a disregard for relating the positions in space of all the drawing’s forms.
Overabundance of details – suggests an inability to analyze and select the subject’s essential directions, masses and planes.
Parts stronger than the whole – often results when there is more interest in the details rather than the form of which the details form only a part.
Weak sense of volume.
Hard, monotonous outline: suggests a belief in the ability of the outlined limits of a form to convey everything about a subject’s volumetric character. When such an outline is used any interior detail lines tend to look like scratches or "scars" on the white shape of the interior.
Stiff, wooden drawings: suggest an over-caution or concern with making mistakes, with making a mess. Also a furry, overly sketchy line which suggests an anxiety about getting a line "in the right place."
Tonal anemia. Fear of using dark lines or values.
Formulaic solutions: remembered clichés replace responses to any of a subject’s actualities.
The labored drawing: often results from fussy embellishments of parts with unnecessary details and "finish," isolating them and reducing their relational activities. Drawing are often overworked because their representational aspects are over-emphasized. "Finish" in the sense of photographic naturalism.
Redundancy: the use of lines and tones for the same function in a single volume.
Random use of lines and tones: usually occurs where there is no general strategy for the roles of line and tone in a drawing
Ostentatious facility: occurs when adroit cleverness in the use of media, or deft expository devices are dominant goals. When facility makes a drawing a system of clever representational mannerisms, instead of helping to articulate an organized personal and penetrating interpretation of nature, the drawing becomes illustrative rather than pictorial, exhibition rather than experience.
Lack of unifying directions and rhythms: suggests a sequential approach. Completing parts one at a time seldom permits their being freely woven together by directional and rhythmic forces.