Why Art?

Art in URPG is a great way to get creative, earn some constructive feedback, and pick up some Pokemon and some cash ingame, all rolled into one! Whether you’ve been at art for years, or you’re just starting out, URPG accepts all Pokemon-related art, in any visual medium.

Participating in the Art Section

There are two main ways to participate:

However you participate, the most important rule? To have fun!

How We Score Art Submissions

When you submit an artwork, it will be claimed as soon as possible by a Curator. When a Curator claims a piece, they’ll spend some time evaluating what your work did well on and what could be improved. Then, using the curating guidelines, they place it at a certain rank, and that placement decides how much cash you get or if you successfully capture a Pokemon. They will post that verdict with a brief (or, if you specified In-Depth) critique of the work!

Each curation will come as a Concise, and then be followed up by an In-depth if one has been requested by the artist. An In-depth grade tries to provide feedback about many different aspects of your artwork, and provide detailed advice for improving your work. A Concise grade, on the other hand, will try to hone in on only the most important positives and negatives, just enough to explain why you’re receiving the given grade and the basic touch-points for how to reach the next rank.

Even with a consistent ranking system, all art is subjective, which means that Curators will sometimes differ in opinion! If you find a piece was not judged appropriately, you are free to politely notify the Head or an Expert Curator. They will then consult with each other/other Curators, review the piece, and make the final call. We’re always happy to discuss and be extra-certain when evaluating an artwork. Ultimately, we’re all here to make some awesome art, get some Pokemon and currency, and have a good time improving!

Scoring Categories

We rank an artwork based on how strong that art ranks in certain categories. These categories are based on certain principles in art and we apply these principles in a way that works flexibly for nearly all visual mediums! There are two types of categories:

Required categories: These are things that a work of visual art will always have by nature of being a visual medium.

Optional categories: These are qualities that any given piece of artwork may or may not have, depending on the piece itself! Different ranks require a different amount of these to be fulfilled at certain skill levels.

Expertise Levels

These ranks place how well a work scores in a certain category. The criteria for meeting each of these expertise levels changes based on what category it’s scoring, but they all adhere to the same general idea(s), listed below. If you’d like to see an in-depth breakdown on how expertise level is evaluated for each category, check out the Curating Guidelines.

Capture ranks for basic Pokemon (up to the Demanding Rank) will not require Exceptional expertise in any category–Exceptional is used for climbing the ranks more easily, or for getting extra cash for above-and-beyond ranks like Merciless and Stupefying. Don’t worry about too much where you’ll place on any given category while you’re making your art; just give it your best shot and you’ll gradually get a feel for where things place and how you can improve naturally!

Art Ranks and Requirements

Below is a list of ranks and their category/expertise level requirements. This is just to give you an idea of what certain ranks take in each category. Remember, if you’d like a full breakdown of how each expertise rank of each category is scored, check out the Curating Guidelines!

To cut down on scrolling, we’ve collapsed each of the ranks into an expandable list. Click and expand a category to see the requirements for it!



  • Basic form
  • Basic technique

At least two of the following:

  • Basic scene
  • Basic value
  • Basic color
  • Basic narrative


  • Basic form
  • Basic technique

At least three of the following:

  • Basic scene
  • Basic value
  • Basic color
  • Basic narrative


  • Intermediate form
  • Basic technique

At least three of the following:

  • Basic scene
  • Intermediate value
  • Intermediate color
  • Intermediate narrative


  • Intermediate form
  • Intermediate technique

At least three of the following:

  • Intermediate scene
  • Intermediate value
  • Intermediate color
  • Intermediate narrative


  • Advanced form
  • Intermediate technique

All of the following:

  • Intermediate scene
  • Intermediate value
  • Intermediate color
  • Intermediate narrative



  • Advanced form
  • Intermediate technique

At least TWO ADVANCED and ONE INTERMEDIATE of the following:

  • Scene
  • Value
  • Color
  • Narrative

NOTE: For each exceptional in the required categories (form and technique), an Advanced requirement above may be reduced to an Intermediate requirement (for Complex only).



  • Advanced form
  • Advanced technique

All of the following:

  • Intermediate scene
  • Advanced value
  • Advanced color
  • Intermediate narrative



  • Advanced form
  • Advanced technique

At least TWO ADVANCED and ONE EXCEPTIONAL of the following:

  • Scene
  • Value
  • Color
  • Narrative


  • Exceptional form
  • Advanced technique

All of the following:

  • Advanced scene
  • Exceptional value
  • Exceptional color
  • Advanced narrative



  • Exceptional form
  • Exceptional technique

At least three of the following:

  • Exceptional scene
  • Exceptional value
  • Exceptional color
  • Exceptional narrative


  • Exceptional form
  • Exceptional technique

All of the following:

  • Exceptional scene
  • Exceptional value
  • Exceptional color
  • Exceptional narrative

Evaluating Different Mediums

In the Curating system, we aim to not discriminate or curate more harshly against certain mediums. When applying the above criteria, instead of being any more or less harsh about how we grade a particular medium, we look at how to instead apply the categories to better fit that medium. For example, since a photograph of a sculpture will always have a background, scene wouldn’t be evaluated based on whether or not the work has a background, but rather how much attention was put into arranging or creating it. In a fully abstract, cubist-inspired work of a Charmander, we wouldn’t rate on anatomical accuracy for form, but rather on how the intended Pokemon and its signifying features are communicated using shape.

While curators will be tweaking the way the criteria apply on a case-by-case basis per medium, some notable or more common exceptions are listed in the Notable Exceptions section of the Curating Guidelines.

List of Pokemon by Tier

These lists only show the rank of a basic/lowest evolution of a Pokemon, so look for the basic version of what you’re looking to capture to find its rank! If you still want to aim for a higher evolution, each evolution is one rank higher than its previous one (for example, Caterpie is Easiest, so Metapod is Simple, and Butterfree is Medium).


Pidgey, Rattata, Spearow, Magikarp, Caterpie, Hoothoot, Sentret, Ledyba, Spinarak, Sunkern, Unown, Wurmple, Poochyena, Taillow, Wynaut, Kricketot, Bidoof, Burmy, Patrat, Pidove, Sewaddle, Scatterbug, Pikipek, Yungoos, Skwovet


Weedle, Ekans, Doduo, Sandshrew, Zubat, Oddish, Paras, Poliwag, Bellsprout, Geodude, Machop, Mankey, Goldeen, Tentacool

Mareep, Hoppip, Wooper, Pineco, Slugma, Snubbull, Phanpy, Stantler, Dunsparce, Delibird, Plusle, Minun, Pichu Magby, Elekid, Smoochum, Cleffa, Igglybuff

Wingull, Zigzagoon, Surskit, Slakoth, Nincada, Whismur, Luvdisc, Skitty, Gulpin, Spoink, Cacnea, Barboach, Spheal, Relicanth, Makuhita, Wailmer, Spinda

Budew, Shinx, Cherubi, Mantyke, Combee, Shellos, Chingling, Bonsly, Finneon, Snover, Carnivine

Lillipup, Purrloin, Pansage, Pansear, Panpour, Roggenrola, Woobat, Tympole, Maractus, Klink, Foongus


Grubbin, Cutiefly, Fomantis, Bounsweet, Spritzee, Swirlix, Morelull

Greedent, Blipbug, Nickit, Gossifleur, Wooloo


Nidoran F, Nidoran M, Vulpix, Venonat, Meowth, Psyduck, Growlithe, Diglett, Magnemite, Seel, Grimer, Shellder, Krabby, Voltorb, Exeggcute, Cubone, Koffing, Drowzee, Lickitung

Chinchou, Natu, Yanma, Teddiursa, Corsola, Remoraid, Houndour, Tyrogue, Shuckle

Lotad, Seedot, Shroomish, Azurill, Illumise, Numel, Aron, Duskull, Carvanha, Trapinch, Shuppet, Snorunt, Corphish, Baltoy, Castform, Clamperl, Zangoose, Seviper

Starly, Pachirisu, Buizel, Glameow, Stunky, Bronzor, Mime Jr., Croagunk, Chatot, Hippopotas

Munna, Blitzle, Venipede, Petilil, Sandile, Dwebble, Scraggy, Trubbish, Gothita, Solosis, Ducklett, Vanillite, Deerling, Emolga, Karrablast, Joltik, Elgyem, Cubchoo, Shelmet, Stunfisk, Heatmor, Basculin, Alomomola

Bunnelby, Fletchling, Litleo, Flabebe, Skiddo, Pancham, Espurr, Binacle, Helioptile, Dedenne, Phantump, Pumpkaboo, Bergmite

Crabrawler, Rockruff, Dewpider, Stufful, Togedemaru, Wimpod, Pyukumuku

Rookidee, Yamper, Silicobra, Clobbopus, Pincurchin, Snom, Morpeko, Milcery, Stonjourner


Bulbasaur, Charmander, Squirtle, Ponyta, Slowpoke, Onix, Eevee, Rhyhorn, Tangela, Horsea, Staryu, Farfetch’d, Pinsir, Omanyte, Kabuto

Chikorita, Cyndaquil, Totodile, Togepi, Aipom, Murkrow, Misdreavus, Girafarig, Qwilfish, Miltank, Sneasel, Smeargle, Swinub

Treecko, Torchic, Mudkip, Ralts, Nosepass, Mawile, Meditite, Electrike, Volbeat, Swablu, Lunatone, Solrock, Torkoal, Lileep, Anorith, Tropius

Turtwig, Chimchar, Piplup, Drifloon, Buneary, Skorupi, Carnivine, Cranidos, Shieldon

Snivy, Tepig, Oshawott, Audino, Timburr, Cottonee, Yamask, Minccino, Frillish, Ferroseed, Tynamo, Mienfoo, Golett, Rufflet, Vullaby, Tirtouga, Archen, Throh, Sawk, Cryogonal, Bouffalant, Druddigon

Chespin, Fennekin, Froakie, Furfrou, Inkay, Skrelp, Clauncher, Tyrunt, Amaura, Klefki, Noibat

Rowlet, Litten, Popplio, Oricorio, Wishiwashi, Mudbray, Salandit, Sandygast, Bruxish, Comfey, Oranguru, Passimian, Komala

Grookey, Scorbunny, Sobble, Chewtle, Applin, Arrokuda, Sizzlipede, Hatenna, Impidimp, Falinks, Eiscue, Indeedee, Cufant, Duraludon, Rolycoly


Tauros, Lapras, Ditto, Dratini

Skarmory, Heracross

Larvitar, Feebas, Kecleon, Bagon, Beldum, Absol, Happiny, Gible, Gligar, Sableye, Spiritomb, Phione

Drilbur, Darumaka, Zorua, Litwick, Axew, Pawniard, Durant, Deino, Sigilyph


Mareanie, Minior, Turtonator, Hawlucha, Drampa, Dhelmise, Jangmo-o

Toxel, Sinistea, Dreepy, Dracozolt, Arctozolt, Dracovish, Arctovish


Abra, Gastly, Kangaskhan, Scyther, Porygon, Aerodactyl, Riolu, Munchlax, Rotom, Larvesta, Honedge, Mimikyu, Type:Null


Yes, you can actually capture a Permanent Legendary Pokemon through art by either submissions or Curating. See this page for more info.

Multiple-Capture Submissions

In the Art section, you can capture multiple Pokemon in a single art submission! Here’s how it works:

Remember that for multi-captures, the overall quality of the work must rise! Even if you’re capturing an Easiest and a Medium at the Hard rank, both subjects and the rest of the work will need to be at Hard rank to pass! Using this example of capturing an Easiest and a Medium at the Hard rank, this means that if the rendering of your Easiest subject on its own doesn’t also fulfill the requirements of Hard (in Hard’s case, shading, anatomy, an original pose), then you may not be awarded that subject with the capture until it is brought up to standard. This is to keep additional subjects from being added into higher-ranked works as afterthoughts.

Art Passes

Art Passes are special items that you may receive from time to time, often as the result of participation in an event. These items help you to earn better rewards for your effort. There are two types of Art Passes you might receive:

Art Pass – A regular Art Pass reduces the difficulty rank of your target Pokemon by one stage. For example, if you are aiming to capture a Demanding-level Pokemon but you use an Art Pass, you’ll only need to pass at the Complex rank for a successful capture.

Boosted Art Pass – A Boosted Art Pass does not reduce the difficulty rank of your target Pokemon. When you successfully capture your target, a Boosted Art Pass allows you to capture another Pokemon of the same rank (or lower) for free. For example, if you successfully capture a Complex-level Pokemon, you’d receive a second Complex-level Pokemon of your choice at no extra cost. When using a Boosted Art Pass on a Pokemon that’s already been reduced (in situations where allowed), the rank of your extra prize will be the rank that you actually passed, not the target’s original rank.

Both types of Art Pass come with some extra rules to keep in mind.

Art for Cash

If a user doesn’t want to draw to capture a Pokemon, they have another option in making art for cash instead. The process is the same as normal. A member submits a piece of art, a Curator evaluates it, and then, depending on which rank it passes under, the artist them claims cash as their prize instead of a Pokemon.

How It Works:

Money Values Earned (by Rank):

Note on earning cash while capturing: While submitting a capture work, if you score higher than what you were trying to capture, you receive the difference between the required rank and work’s rank in cash along with the Pokemon. For example, if you were capturing a Simple but the work placed at Medium, you’ll receive an additional $7,500.


Capture to Cash Attempts

Previously, once you submitted a work for capture, you couldn’t change that after it had been curated. This was to encourage people to use curator feedback to continue to improve on works they’d already created, with the help of curators guiding them through that journey. But sometimes, maybe you’ve done your best and just can’t quite get it there yet (it’s okay, it happens to the best of us!), or maybe you did it in a bomb-ass medium that just can’t be altered again. We don’t want your work or your effort to go to waste!

With this in mind, you may opt to turn a capture attempt into a cash piece if you’ve:

Useful Elements for Artists

Beyond the specific medium requirements, here are some general tips/things to keep in mind when creating art.

This includes not only Pokemon anatomy but shapes and lines in general. A line can portray many things depending on the way it is drawn. Are the lines clear? Do they take the correct shape? Pay attention to how the object looks as a whole, in relation to other lines. Is the anatomy of the Pokemon correct? Of course, some things may be changed due to style, but the main pieces should still be there. Does anything look off? Did you forget a wing segment or attach a limb in the wrong place? This can skew the entire look of the image, so be careful.

Little things can sometimes make an image. Pay close attention to things like fur, scales, other textures, background objects, and other small things that are easy to overlook. They may not seem too important, but putting in those tiny touches not only improves quality but also shows viewers that the artist put time and effort into the piece.

Sometimes its good to make use of negative space in order to portray a theme, but make sure the image doesn’t look empty either. Too much white or blank areas gives a feel that the image is not finished. If the Pokemon doesn’t take up enough of the page, think about trimming edges until the image has a better look. How close or far are objects in the piece? Things can overlap to add depth, and size of objects helps develop spatial relationships between them.

Keep in mind which direction the light is coming from. If an object blocks out light on one side, there is probably shadow on the other side. There are also usually shadows underneath things or darker shades on things farther away, depending on where the light is. Shadows make a piece seem more realistic and less flat. Remember too that light reflects off of surfaces as well, even ones that aren’t necessarily “shiny”!

Color doesn’t have to be used, but when it is, colors follow similar rules to light and should have shadows. Color can make objects and Pokemon easier to distinguish, so make sure to match the colors as best as you can. Color is also helpful in portraying mood and tone, too, such as red meaning anger, power, or love. Different values of the same color should also be used, especially with shadows or distance. Try to blend colors together smoothly to avoid an abrupt change with a noticeable line. Remember that the light of an object near something else can make its color reflect onto that object; a tuft of grass near a foot might very-subtly cast its green onto things near it.

Is the piece balanced? Every piece of work has a type of “weight” assigned to it. If the piece was hung on the wall, would it lean to one side or the other? Try to distribute that art weight evenly across the piece, as it can make the art seem off otherwise. This also helps an artist fill up the canvas and avoid too much empty space.

Perspective refers to the angle of the image. Do viewers look straight at the Pokemon with a flat background? Are they following the view of a Pokeball swinging in for the capture? Depending on the lens an artist gives a piece of art, the dynamic, or exciting factor, is increased. While looking at a Pokemon just sitting in a field may fulfill basic requirements, it’s not always very interesting. Think creatively when figuring out where to position objects. Having a camera angle looking down usually displays things like power, while looking up at something reveals meekness.

This is probably the most important thing to consider when making art. Does everything fit together? This goes beyond just plopping things down on the canvas. Everything must seem like it belongs in the artwork. It’s very easy to tell when something is forced, filler, and just doesn’t belong with the rest of the piece. Try to keep everything in a similar style, with shading, themes, and other principles. At the end of the day, the piece should stand strong as a whole, not just with great individual portions.

List of Curators

Head Curators

Expert Curators



Active Curators

Inactive Curators

To become an active curator, simply check in with an Expert or Head curator. Curators with an asterisk next to their name are ones that have not been tested under the new curating system, and that did not submit test curations in time to re-qualify under the new system. They simply need to send Concise curations of the Curator Test pieces to an Expert or Head curator to re-qualify.

Special thanks to the following for their huge help in making the decisions involved in setting up this section and adding information: Elysia, FrozenChaos, EmBreon, Alaskapigeon, Gun6, and WinterVines.

The Sketchbook System

The sketchbook is another way for user’s to claim an extra bit of cash and/or exp on the side. The sketchbook allows users to submit sketches over a month and earn cash based on the number of sketches and the effort applied in each one. This system has two types of rewards: cash and exp. You can choose which one you receive, or how much of each to receive, when claiming your rewards.

Getting Started

To get started with the sketchbook, first you need to create your own thread in the Sketchbook subsection. The title of your thread should have your username in it, but otherwise can be whatever appropriate title that you like!

Once you have created your thread, you may post on Pokemon-related sketch a day, each in a new post. The rewards are explained below!


Each sketch you post will immediately net you $500 for an original sketch or $250 for an improvement on an existing sketch/artwork.

Alternatively, instead of money, you can choose to claim up to three experience points distributed how you like across any Pokemon of your choice (for example, you could do one EXP on three Pokemon, two on one and one on another, or all three on one, etc), valued at $250. This means that if you post a $500 sketch, you can claim $250 and three EXP, and if you post a $250 sketch, you can claim no money and three EXP.

You should post your money the same way you would if you were making a Mart purchase (example: if you have $20,000 in your stats, when you post an original sketch for the day, you’d post “$20,000 + $500 = $20,500”). If you’re claiming EXP, you should say which Pokemon you’re claiming the EXP for in your sketch post.

Any bonuses (such as bonuses from streaks or Sketchbook Prompts) should not be claimed when posting a sketch. Instead, after completing any streaks or prompts, you can post your sketchbook in the Sketchbook Streak & Prompt Pay Claim thread to claim your streak and theme bonuses for the month. You can fill out the form in the first post of that thread — be sure to include all of the listed info in the form!

As with all art pieces submitted for cash, Sketchbook earnings will count toward your Legend tracker unless otherwise specified in the Sketchbook pay claim thread. An EXP claim still counts as $250 toward the art legend tracker.

You also get additional rewards for keeping up with your sketchbook every day, with the rewards scaling based on how long you’ve kept it up without missing a day.

Summary of Rewards:

Each Sketch – $250 or $500
One-week (7 day) streak – $1,000
30-day streak Bonus – $2,000
Weekly prompt bonus – $500 (maximum of 1 per week

Monthly Max – $23,500

Extra Art Events

Here are some bonus things that the Art Section often does, if you’re looking for some variety or some other purpose for making art.

Every once in a while, URPG will hold some sort of art contest. In the past, these have mostly been Banner Contests for threads missing them, but the more artists available, the more interesting things we can do. Have an idea? Share it with a Curator!

Monthly Art Themes
Need a little inspiration to begin? Every month, there is a themed challenge where artists can follow prompts to earn extra cash. It doesn’t even matter if the artwork passes or fails! So long as you fit the theme properly, you are rewarded. These prompts can be color, a specific setting, type of Pokemon, or abstract idea. There are usually a couple to choose from if one of them leaves you stumped. You can see the full list of Monthly Art Themes here.

Sketchbook Prompts
Sketchbook prompts are designed to give you an idea of a little something that you can draw once per week. Each one is assigned to a week in the month. If you complete the one sketch to match that theme within that week, that sketch nets you a little extra something at the end of the month! You can see the full list of Weekly Sketchbook Prompts here.

Art Deals
Don’t want any more Pokemon but still want to make art? You can always set up an art deal. Other members are constantly looking for specific Pokemon that might not be easy to get themselves. That’s where you come in. By capturing a Pokemon through art for them, you can then set up a trade for a different Pokemon or a TM Case of appropriate value. Post in #trading-post what rank Pokemon you can draw or what you’re willing to draw, or reach out to someone you know is looking for a trade for a Pokemon!

Curator Information

How to Become a Curator

Becoming a Curator is easy! All you have to do is tell us what you think of some pictures and answers a few teeny tiny questions. Well… maybe not that easy. Curators should have a balanced judgement and not bring personal bias into their curations. It’s important to let the artist know what you enjoyed but also tell them what they can improve on for next time. Tips on how to improve, new techniques to try, and different elements to add (say to a background) are all viable suggestions, among others.

Keep in mind that Curators should only be claiming one piece at a time. This is both to be fair to other Curators (nobody likes a hog) and to make sure you can get the work done in a reasonable amount of time.

Scoring Artwork

The below guide will tell you how our curation system works, what passes at what ranks, and what qualifies as what expertise level. To become a curator, you don’t need to memorize this; you can reference it freely, and you’re encouraged to do so! If you have any questions about scoring a part of a work (as long as it’s not a part of the curator test), please feel free to ask!

While we try to be as clear as possible in these guidelines, you may find that you hit an occasional edge case for a particular category. Even if that category wouldn’t make or break a rank one way or another, you always want to decide on a single ruling so that the artist gets an accurate reading of where they performed with the work. Don’t be afraid to ask in the curator Discord if you’d like clarification.

In-depth Breakdown: Required Categories


Form covers the pose and anatomy of the main subject(s) of the work, as well as for secondary subject(s). Note that this must be determined on a case-by-case basis; anatomical details may be altered or omitted based on the artists’ style, and these stylistic choices should be evaluated based on whether they work for the artwork, rather than for one hundred percent accuracy. This doesn’t mean that accuracy isn’t important and all anatomical mistakes can be chalked up to artist’s choice; look at the style they’re going for and the level of detail in the work and decide on what level of accuracy would work best with it as a whole.

Curators are encouraged to exercise a bit more leniency for images with multiple subjects–something with multiple, thoughtfully-executed subjects could still get away with some anatomical mistakes at higher levels. Curators should also note complexity when evaluating form. A more complex anatomical form (like Rhyhorn and other detailed anatomies) done well will be rewarded a higher rank than a more simple anatomical form (like untransformed Ditto, or a Voltorb, etc.). In cases of simple-anatomy, higher ranks can be achieved by the dynamism or creativity/difficulty of the pose, what it adds to the work, and how it was implemented.

  • Basic: At least some or most anatomical elements are present. Some details may be missing. Pose may be copied from another artwork.
  • Intermediate: All anatomical elements present. Pose shows evidence of rotation, movement, or additional detail compared to official artwork or other references, and does so at least partially accurately.
  • Advanced: Anatomy accurately manipulated based on a unique pose or movement, with little to no mistakes that detract from the perception of the figure upon viewing.
  • Exceptional: A pose that is not only unique, but whose lines of action or pose “silhouette” contribute to the overall narrative and composition of the image (see a visual interest comparison here). Practically no anatomical mistakes, or only very minute ones that do not detract at all from the work.

Technique covers the skillful use of the artist’s chosen medium. It also assesses the way they use the medium to create a visual style, and how well that visual style ties the work together.

  • Basic: The work shows a rudimentary understanding of the tools being used, but there may be some mistakes in using those tools (for example, marker bleed, coloring outside of marked lines, over-smudging, stray pixels, unintentional white space). Certain parts of the style may detract from the overall goal or perception of the work.
  • Intermediate: The artist shows familiarity with the tools being used and the visual style executed with them, but some usage of or mistakes with the tools still detract from the work.
  • Advanced: The artist shows a strong, experienced understanding of the tools and the visual style being used, to the point of showing hardly any mistakes or points of criticism.
  • Exceptional: The artist shows a strong, experienced understanding of the tools and the visual style being used, to the point of showing hardly any or no mistakes or points of criticism. In addition, the use of tools and style is used to compliment the theme, narrative, and/or tone of the work, and/or the artist uses the tools and/or style in a unique and unexpected way that flows well with the intention of the piece.

In-depth Breakdown: Optional Categories


The value category covers the use of light and dark colors or tones in the work, and how this value is used to show the texture and shape of the subjects. It also covers the use of contrast between light and dark tones. Most aspects of shading are covered by the value category.

  • Basic: The use of value is present in the work, but scarcely or irregularly. There is some shading present, but it is used in error such as a misplaced light source or imbalanced contrast, or otherwise detracts from the work, and adds little depth if any.
  • Intermediate: The use of value is present throughout the whole of the work. The shading may have a few errors, or the contrast may not be properly balanced, and the value does not make the figure(s) it is used on look fully three-dimensional (when such is the intent). Shading may be correct and present in some places but missing in others.
  • Advanced: Different values are used to create shading and highlights within the work. The contrast between light and dark values is by-and-large supportive of the rest of the work, making the subjects look more three-dimensional (when such is the intent) and emphasizing the focal point of the image.
  • Exceptional: Different values are used to create shading and highlights within the work. Shading or overall value is consistent and adds both depth and visual interest. The contrast between light and dark values supports the rest of the work and its focal point(s), and is used to aid the narrative and composition of the work.

The color category covers the use of hue and saturation in the work, and how these colors are used to create interest. It also addresses tone to a limited extent through color psychology.

  • Basic: Color is present. It may be limited to certain areas of the work (if it is intentionally done so for effect or emphasis), or use an inconsistent color palette that is not conducive to the work’s intent (for example, an unpleasant color palette on a work that’s meant to be aesthetically pleasing, or unintentionally/thematically-unintended bright colors for something intended to be scary).
  • Intermediate: Color is used through the whole of the work. It is not necessarily united, but the colors are accurate to the scene.
  • Advanced: Color is used through the whole of the work. The palette is united, so that the whole work flows together, and intentional as to influence the perception of the work.
  • Exceptional: A united color palette is used through the whole of the work to supplement the subjects and adds to the piece in a way that adds additional meaning to the scene.

The narrative category covers the emotion or story conveyed with the work. This can be done through expressions or other props, details, and similar tools.

  • Basic: Some mood or story is shown, either through the expression or the pose of the subject(s). The mood or story makes at least some sense, though it may be partially unclear.
  • Intermediate: A mood or story is clearly shown. The subjects’ expression and pose work together to show this mood. It is clear what the artist is attempting to convey.
  • Advanced: A mood or story is clearly shown. The subjects’ expression and pose work together to show this mood, and other elements of the work (such as setting, color, etc) are incorporated to show this mood.
  • Exceptional: A striking mood or story is clearly shown and carried fully throughout the work. The subjects’ expression and pose work together to show this mood, and all of the other present elements of the work are incorporated to show this mood.

The scene category covers the setting in which the subject(s) are depicted, and the placement of elements and figures within this setting. It addresses the way these elements are used to convey information within the work.

  • Basic: A setting is depicted, but it is sparse, with little detail, rendering, or thought to its design. The manner in which the subject(s) are placed in this setting is simplistic, with little effort taken to make the subject(s) appear to occupy the space.
  • Intermediate: A setting is depicted with a moderate amount of detail and rendering. Some effort has been taken to make the subject(s) appear to occupy the space. The setting gives some context to the subject(s).
  • Advanced: A setting is depicted, and it is well-rendered with good detail, giving context to the subject(s). The subject(s) appear to believably occupy the space. All of the elements are well-designed and thoughtfully placed, with attention to the composition of the work. The setting itself is extremely well-rendered, and while it may not be as detailed as the subject(s), it is still given diligent attention.
  • Exceptional: There is a clear visual organization and harmony to the subjects and the elements of the setting. The figures are well-integrated within the setting to create a believable scene. They work together with the setting itself to guide the eye through the work and draw the eye quite clearly to the focal point.

Notable Exceptions

While almost all mediums can fall under the above criteria and the above criteria should comfortably fit almost all typical mediums, the nature of certain mediums necessitates slight tweaking of the evaluation criteria. Below are the circumstances that we feel are notable. When in doubt, try to ask another curator or even artist who has experience with that medium, or do some extra research yourself!

For Photography of Craft and Sculptural Works
  • Value: A photograph will always have (or at least have had) some form of value or shadow. Because of this, value should address the attention to lighting in the craft’s presentation, and how it accentuates the work, rather than the explicit presence of it. If lighting is not intentionally used to alter the presentation of a craft or sculptural work, it should not be given a Basic simply for a photograph having a shadow naturally.
  • Scene: A photograph will always have (or at least have had) some form of background. Because of this, the Basic expertise level with a craft or sculptural work requires at least some attempt to present the work carefully.
    • N/A Scene Example: A clay sculpture/model set on its back on a white/colored/textured table, counter, or other surface without much regard to placement or only minimal regard to background.
    • Basic Scene Example: A clay sculpture/model propped up against a vertical white sheet set up specifically for photographing the work.
    • Intermediate Scene Example: A clay sculpture/model arranged with props and/or objects placed around it, showing some attention to setting up a scene.
    • Advanced Scene Example: A clay sculpture/model put into a “full” scene, with attention to background, foreground, etc. elements and lighting.
    • Exceptional Scene Example: A clay sculpture/model put into a full detailed scene, with attention to background, foreground, etc. elements and lighting, with objects arranged in a way that directs the eye across the staged photograph’s composition and impacts the narrative.
For Photomanipulation

While most categories remain very similar in their application (with differences in approach detailed below), Form and Scene are the two major “equalizers” for photomanipulation, being the more difficult expertise levels to attain. Most of these concepts can be applied to regular mixed graphic art works as well.

  • Form: Photomanipulation’s form requirements should use the same points as the default, but be applied in regard to how well the constructed subject(s) are created with their stock choices, blending, etc., and their anatomical accuracy/recognizability. Complexity of the Pokemon itself and the construction of the Pokemon through photomanipulation should be considered.
    • For example, a well-done Rattata, Pidgey, or Yamper (whose Pokemon designs are very lightly-modified real-life animal designs) wouldn’t receive as much credit for complexity as, for example, a well-done Onix or even a well-done Rapidash (whose body would be easy, but whose mane, tail, and horn would be considerably more difficult to blend). While there’s no hard upper limit for these more easily-translated designs, keep this in mind with ranking Form on photomanipulations.
  • Value: Value should apply the same, but refer to how well the combined photos match the scene’s overall values.
  • Color: Use the same idea as above: evaluate based on how well the combined photos realistically match the scene’s overall colors, and also the visual impact of those colors/contrast of those colors.
    • Scene: Scene’s ranking can be determined (loosely) by two main factors: number of stock images used for it, and complexity of their blending or modification. Below are some examples to exhibit the basic concepts, but note that these are not strict requirements/formulas, just examples of criteria to evaluate what differentiates a basic/intermediate/etc Scene category score by.
      • Basic Scene Example: A single photograph used in the background, with minimal difficult editing that doesn’t drastically affect or alter the image, or perhaps simply a recolor. Example (by K’sariya).
      • Intermediate Scene Example:
        • A single photograph used in the background, with minimal difficult editing that doesn’t drastically affect or alter the image, or perhaps simply a recolor. Example (by K’sariya).
        • A scene created from two or more photographs cut or overlaid in some way that blends them intentionally. Example (by K’sariya).
      • Advanced Scene Example: Two photographs blended either with each other or into the subject with high complexity. Example (by K’sariya). (Note: better stylistic matching of the space background and the cloud foreground would add the required complexity to make this one Exceptional, so this is a very high Advanced).
      • Advanced Scene Example: Several photographs blended with appropriate and/or matching lighting and color in a way that creates the artist’s desired visual impact. Example by K’sariya.

Critiquing Artwork

If there’s one thing you take away from how to critique artwork (in both URPG and in the real world!), it is that there are four critical parts of a good constructive criticism:

  1. What an artist did right. For every mistake I point out, I try to pair it with something I think they did well. Even if you feel like you can’t find something, acknowledge their attempt and compliment them on what they were trying to achieve!
  2. How an artist did that thing right. Just as important as what is the how. Someone may have shaded the Riolu really well in a way that makes it look three-dimensional, but what exactly did they do to accomplish that? Perhaps it was the value of the shading on different depths of the body that made it really form on the page. For artists who did it on purpose, it calls out the technique for other reading viewers, curators and artists alike, and for those who did it on accident, they now have the knowledge on how they did something right to use for next time!
  3. What an artist could be improved. The real “critique” part is what they might have not gotten quite right. Try to frame it as a mistake as little as possible–you don’t want them to feel bad for “messing up”–you want them to see that they made a good attempt, but this is an area where they can make it even better.
  4. How an artist can improve that thing. Stick with a growth mindset when critiquing–the ultimate goal is for an artist to improve, so you should enthusiastically give them a roadmap for how to do it! If they drew a Trainer’s arm wrong, give them references for the pose(s) that they’re looking for. If their hand on the paper smudged their graphite drawing, let them know they can place their hand on a piece of paper to prevent the smudging. Every critique needs to be paired with the way to fix it.

Critiquing a piece is also where your personal artistic knowledge is important, as there is no standard criteria across all art forms. We expect you to have a good understanding of the important aspects of any art form you are evaluating. We understand that you may not have a grasp over every art form, and that’s okay! You can always leave something you’re not comfortable with to a curator more experienced with the medium. In a case where you want to curate a work but are unfamiliar with the medium, please either reach out to a medium-experienced artist/curator about that medium, or do some research on the important points of the technique!

It should go without saying that no-one should be maliciously critical of any artwork. You should be providing constructive criticism. Even work you perceive as rushed or unpracticed work should be treated with a respectful suggestion that they improve.

Also note that not all advice, techniques, or other suggestions fit a certain piece based on what the artist was going for. Just because it’s a cool method or would dramatically shake the work up does not mean that is what the artist should do. Consider their goals, unity of the entire piece, and what would fit thematically too. Ultimately, it’s their work, not yours–you should help them accomplish their vision, and give them the tools to do it.

Curator Payments

Curators are paid roughly every month or so depending on how many or few wages there are. In order to receive these, Curators need to keep a record of their work, located in the Log Thread in the Art board. If a Curator’s log isn’t updated by the time wages go up, they may not be paid until the next wage period. Curators should be updating their logs after each time they claim new wages.

List any pieces, including a link, that need to be paid. Clearly mark which pieces are paid or unpaid. You can use any format you like as long as this is clear. Many people put past work in a spoiler tag and put unpaid work on top in the open. Some also track total wages or legend tracker, but this is optional (but recommended if interested in a legend, to save counting time later).

Pay is determined by what quality category the curation falls under (Concise and In-Depth). Keep in mind that the wage-payer can adjust pay from these categories based on their own judgment. Extra effort will be rewarded while a lack of it will be deducted from. These ranks are just guidelines of what to expect:

Concise – $4,000 – $8,000

These curations should preface any in-depth curation, and provide a list of 5-10 points (similar to a bulleted list, although format is flexible) comprising the most salient successes and opportunities for improvement in the artwork and justifying your expertise level for each category. While they, of course, don’t have to go too in-depth, you still need to briefly mention the hows and the whys of what you’re pointing out, including a brief suggestion on how to fix any negative aspects.

Feel free to reference artistic concepts and leave room for the artist to ask you about them if they want to learn more, or link out to those concepts so they can read themselves. Here are a few guidelines for the payscale for concise:

Below $4,000 – The concise curation is threadbare in actual substance, perhaps providing minimal to no justification for their expertise level rankings or giving little to no constructive ways to improve on the criticisms made.

$5,000 – The concise curation lists the good and bad of a piece, but not much more. It may make a good suggestion of improvement or two, but may also be missing a few good points of criticism or encouragement, or actionable suggestions on improvement.

$6,000 – The concise curation lists several good general points of what an artist did or didn’t do well in each category, and a few suggestions on how to improve each of those things.

$7,000 – The concise curation covers all major points needed to address the artwork’s successes and flaws, while also pointing out specific examples of these points, as well as providing resources or giving helpful tips for the artist to reference or use to improve in the future.

$8,000 – The concise curation does all of the above, while also going above and beyond. “Exceptional” level.

In-Depth – $7,000 – $20,000

Simple – $7,000

The in-depth curation hits most ups and downs with good detail that sets it apart from concise, but may still be missing the hows or whys at some points.

Intermediate – $12,000

Hits all of the main points specified in Simple, but with a “just-right” amount of detail and critique on the hows/whys/etc. Most in-depths will fall into this range.

Elaborate – $17,000+

These curations are rarer and are reserved for special circumstances, like an artist’s request on getting specific technical help or a supremely high quality piece.

Curator Test

This is the Curator Test. Anyone who wishes to become a Curator of the Art section must complete this test.

For the visual section, we expect you to evaluate the pieces of art provided with both a Concise and an In-Depth curation. Samples of reasonable evaluations can be found in the Art section on individual pieces by other Curators. You should also accompany the evaluation with a final verdict.

When it is complete, submit it to an Art Tester. Your suitability will be assessed, and we will let you know what our decision is. There will be a minimum of 1 weekbetween retestings.

Available Art Testers
VeloJello, K’sariya

Art Knowledge

Art Section Knowledge

Visual Section

Deathkarp by Monbrey

Night of the Dragon by Frozen Chaos

Untitled by FrozenChaos

Brotherhood by Monbrey