>>5628163>If you can't generate your own momentum 100% ngmi.
I agree to an extent, but I was more trying to get at it adding to your skill momentum than motivation momentum
You can get that skill momentum from other sources of course, but for new artists bad or illy given critique can hamper that skill momentum they build while learning given how new and thus impressionable they are
Using that analogy of mine further, imagine a newfag gets like 15 pieces of negative critique, even if they're genuine and kindly stated; it's like spinning them in circles, they have no idea where to go because they're overwhelmed by how many different things to work on, and even if they do have that much to work on, it's more practical in the short term if they focus on one or two bigger picture things
Likewise, if you give no positive critique and just negative critique, it's very easy for a beginner without a trained aesthetic sense to dismiss all that he's done because he lacks experience for himself to determine what's good or not; it's rare that someone draws something where there are literally zero good qualities about it, so telling them the good parts makes sure they don't lose that, and if it's merely passable but not that good, it at least draws their attention to it for later
Going back to that ratio, I think it serves both beginners and advanced artists well - for a newfag, it's often hard to even think of two positives to say, and there's so much to work on that nobody can do all at once, so something like 2 pieces of general positives and one most glaring negative (something like "good colour choice" vs "your lines could be cleaner") is ideal; meanwhile an advanced artist has done so much right and has enough aesthetic sense to afford nitpicky critiques about specific areas of foreshortening, anatomy, etc.