Studying Art Is Purely an Act of Personal Observation and Individual Interpretation

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Terminal Updated on May 27, 2021

This commodity has been written for loftier school art students who are working upon a critical report of art, sketchbook annotation or an essay-based artist study. It contains a listing of questions to guide students through the procedure of analyzing visual material of any kind, including cartoon, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and and then on (the give-and-take 'artwork' in this commodity is all-encompassing). The questions include a wide range of specialist art terms, prompting students to employ subject-specific vocabulary in their responses. It combines advice from art analysis textbooks too equally from high school fine art teachers who have first-hand experience teaching these concepts to students.

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How to analyse a piece of art — International GCSE artist assay example: The epitome higher up shows role of an A* IGSCE Art and Design sketchbook page analysing the work of Jim Dine, by Rhea Maheshwari, ACG Parnell Higher.

Why exercise we study art?

Almost all high school art students behave out critical analysis of artist work, in conjunction with creating applied piece of work. Looking critically at the work of others allows students to sympathize compositional devices and then explore these in their own art. This is one of the all-time ways for students to larn.

Instructors who assign formal analyses want you to expect—and look carefully. Think of the object as a series of decisions that an artist made. Your task is to figure out and describe, explain, and interpret those decisions and why the artist may have made them. – The Writing Center, University of North Carolina at Chapel Colina^x

Art analysis tips

'I similar this' or 'I don't similar this' without any further explanation or justification is not analysis. Personal opinions must be supported with explanation, evidence or justification.
'Assay of artwork' does not mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher order thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful supposition about why this is the case – possibly a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important office of a formal analysis, clarification is not enough on its own. Y'all must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each element influences the work's overall consequence on the viewer. – Sylvan Barnet, A Short Guide to Writing Well-nigh Art^two

Embrace a range of different visual elements and design principles. It is common for students to become experts at writing well-nigh one or two elements of composition, while neglecting everything else – for example, only focusing upon the employ of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they cover a wide range of art elements and pattern principles, likewise as address context and meaning, where required. The questions below are designed to ensure that students encompass a broad range of relevant topics inside their analysis.
Write aslope the artwork discussed. In nearly all cases, written analysis should be presented aslope the work discussed, so that it is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Back up writing with visual analysis. It is almost always helpful for high school students to support written textile with sketches, drawings and diagrams that help the student sympathize and analyse the slice of art. This might include limerick sketches; diagrams showing the master structure of an artwork; detailed enlargements of modest sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of fine art is the traditional, centuries-old way that artists have learned from each other. In doing this, you will engage with a piece of work and an artist'south approach even if yous previously knew naught about information technology. If possible practice this whenever you tin, not from a postcard, the internet or a picture in a book, only from the actual piece of work itself. This is useful considering it forces you to look closely at the piece of work and to consider elements you might not have noticed before. – Susie Hodge, How to Look at Fine art^vii

Finally, when writing well-nigh art, students should communicate with clarity; demonstrate subject-specific cognition; use correct terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more particular in our commodity most high school sketchbooks.

What should students write about?

Although each aspect of composition is treated separately in the questions beneath, students should consider the relationship between visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to form design principles (such as unity, diversity, emphasis, potency, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate meaning.

As circuitous as works of art typically are, at that place are really only three general categories of statements one can brand virtually them. A statement addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal analysis – the result of looking closely – is an assay of the form that the creative person produces; that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture, mass, composition. These things give the stone or canvas its form, its expression, its content, its meaning. – Sylvan Barnet, A Brusk Guide to Writing Nearly Art²

This video past Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an splendid example of how to analyse a slice of art (information technology is of import to note that this video is an example of 'formal analysis' and doesn't include contextual analysis, which is also required by many high school art exam boards, in improver to the formal analysis illustrated here):

Limerick analysis: a list of questions

The questions below are designed to facilitate direct date with an artwork and to encourage a latitude and depth of understanding of the artwork studied. They are intended to prompt higher order thinking and to help students go far at well-reasoned assay.

It is not expected that students answer every question (doing then would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are well-nigh helpful and relevant for the artwork studied (for case, some questions are appropriate for analyzing a painting, merely non a sculpture). The words provided equally examples are intended to help students think nearly appropriate vocabulary to apply when discussing a particular topic. Definitions of more circuitous words take been provided.

Students should not attempt to re-create out questions so answer them; rather the questions should be considered a starting point for writing bullet pointed annotation or sentences in paragraph form.

How to write art analysis — A modest sample of the books that informed this article. Some of these were written for art history students learning how to write an art analysis; others provide information about composition. For more than details, delight refer to the bibliography below.

CONTENT, CONTEXT AND Significant

Discipline affair / themes / bug / narratives / stories / ideas

There tin be dissimilar, competing, and contradictory interpretations of the same artwork.
An artwork is non necessarily about what the artist wanted it to exist most. – Terry Barrett, Criticizing Art: Understanding the Gimmicky⁶

Our involvement in the painting grows merely when we forget its title and take an interest in the things that it does not mention…" – Françoise Barbe-Gall, How to Look at a Painting⁸

Does the artwork fall within an established genre (i.east. historical; mythical; religious; portraiture; landscape; however life; fantasy; architectural)?
Are there any recognisable objects, places or scenes? How are these presented (i.e. arcadian; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; bathetic; concealed; suggested; blurred or focused)?
Accept people been included? What can nosotros tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can we learn from their pose (i.e. frontal; profile; partly turned; body linguistic communication)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects inside the artwork)? Can nosotros work out relationships between figures from the way they are posed?

What do the clothing, furnishings, accessories (horses, swords, dogs, clocks, business concern ledgers and so forth), background, angle of the head or posture of the caput and trunk, direction of the gaze, and facial expression contribute to our sense of the effigy's social identity (monarch, chaplain, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing Well-nigh Fine art^two

What props and important details are included (curtain; costumes; adornment; architectural elements; emblems; logos; motifs)? How exercise aspects of setting support the main subject? What is the effect of including these items within the organisation (visual unity; connections between different parts of the artwork; directs attending; surprise; multifariousness and visual involvement; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served y'all a whole fish and a scoop of chocolate ice cream on the same plate, your surprise might be acquired by the juxtaposition, or the side-by-side contrast, of the two foods. – Vocabulary.com

A motif is an element in a composition or design that can be used repeatedly for decorative, structural, or iconographic purposes. A motif tin exist representational or abstract, and information technology tin be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and often recur throughout the life's work of an private artist. – John A. Parks, Universal Principles of Fine art^eleven

Does the artwork communicate an activity, narrative or story (i.e. historical result or illustrate a scene from a story)? Has the arrangement been embellished, set or contrived?
Does the artwork explore movement? Do you gain a sense that parts of the artwork are about to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.eastward. multiple or sequential images; blurred edges; scene frozen mid-activeness; live operation art; video art; kinetic art)?
What kind of abstruse elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired past realistic forms? Are they the effect of spontaneous, adventitious creation or careful, deliberate system?
Does the work include the appropriation of work by other artists, such as within a parody or pop fine art? What effect does this accept (i.e. copyright concerns)?

Parody: mimicking the advent and/or manner of something or someone, but with a twist for comic effect or critical comment, every bit in Sabbatum Night Live's political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

Does the discipline captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; man faces; the gaze of people; motility; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned –James Gurney writes more about this fascinating topic.
What kind of text has been used (i.due east. font size; font weight; font family unit; stenciled; hand-drawn; computer-generated; printed)? What has influenced this option of text?
Practice key objects or images have symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Apologue is a device whereby abstract ideas can exist communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic meaning. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Art^xi

An iconography is a particular range or arrangement of types of epitome used past an artist or artists to convey item meanings. For case in Christian religious painting there is an iconography of images such equally the lamb which represents Christ, or the pigeon which represents the Holy Spirit. – Tate.org.great britain

What tone of voice does the artwork have (i.east. deliberate; honest; autobiographical; obvious; direct; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; at-home; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices help to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?
Does the title change the way you interpret the work?
Were there any design constraints relating to the subject affair or theme/south (i.due east. a sculpture commissioned to correspond a specific bailiwick, place or idea)?
Are in that location thematic connections with your own project? What can you acquire from the fashion the creative person has approached this subject?

Wider contexts

All fine art is in part about the world in which it emerged. – Terry Barrett, Criticizing Fine art: Understanding the Contemporary⁶

Supported past research, can you identify when, where and why the work was created and its original intention or purpose (i.e. individual sale; deputed for a specific possessor; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; advice; created in response to a design brief; private viewing; public viewing)? In what fashion has this background influenced the event (i.due east. availability of tools, materials or fourth dimension; expectations of the patron / audience)?
Where is the place of construction or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or community; complements surrounding designs; designed to accommodate weather conditions / climate; congenital on historic site)? Was the artwork originally located somewhere unlike?
Which events and surrounding environments have influenced this piece of work (i.e. natural events; social movements such as feminism; political events, economical situations, celebrated events, religious settings, cultural events)? What event did these have?
Is the piece of work characteristic of an creative way, movement or time period? Has it been influenced by trends, fashions or ideologies? How can yous tell?
Can you make any relevant connections or comparisons with other artworks? Have other artists explored a like subject in a like way? Did this occur before or afterwards this artwork was created?
Can y'all make any relevant connections to other fields of study or expression (i.eastward. geography, mathematics, literature, film, music, history or scientific discipline)?
Which key biographical details about the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; teaching, faith; interests, attitudes, values and beliefs)?
Is this artwork part of a larger body of work? Is this typical of the work the creative person is known for?
How might your ain upbringing, beliefs and biases misconstrue your interpretation of the artwork? Does your ain response differ from the public response, that of the original audience and/orinterpretation past critics?
How practise these wider contexts compare to the contexts surrounding your own piece of work?

COMPOSITION AND Form

Format

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, mural or square)? Has this format been influenced by practical considerations (i.east. availability of materials; display constraints; blueprint brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:iii; or newspaper sizes such as A4, A3, A2, A1)?
How do images fit inside the frame (cropped; truncated; shown in total)? Why is this format appropriate for the bailiwick affair?
Are different parts of the artwork physically split, such as within a diptych or triptych?
Where are the boundaries of the artwork (i.e. is the artwork self-independent; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork accept a fixed, permanent format, or was itmodified, moved or adjusted over time? What causes such changes (i.e. weather condition and exposure to the elements – melting, erosion, discoloration, decaying, wind movement, surface abrasion; structural failure – groovy, breaking; damage acquired by unpredictable events, such equally fire or vandalism; intentional motility, such every bit rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed later; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are in that location stylistic variances between parts?
How does the calibration and format of the artwork chronicle to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from 1 vantage point (i.due east. front facing; viewed from beneath; approached from a chief entrance; set at human centre level) or many? Are images taken from the best bending?
Would a similar format benefit your own project? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; gilt ratio or spiral; grid format; geometric; ascendant triangle; or round composition) or is the organisation less predictable (i.e. chaotic, random, adventitious, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement assist with the communication of ideas? Can you draw a diagram to show the basic construction of the artwork?
Tin can y'all see a clear intention with alignment and positioning of parts inside the artwork (i.e. edges aligned; items spaced equally; unproblematic or circuitous organisation; overlapping, amassed or concentrated objects; dispersed, split up items; repetition of forms; items extending beyond the frame; frames inside frames; bordered perimeter or patterned edging; broken borders)? What upshot do these visual devices have (i.e. imply bureaucracy; help the viewer empathize relationships betwixt parts of artwork; create rhythm)?
Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Can you depict a diagram to illustrate emphasis and say-so (i.eastward. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are dominant items located within the frame?
How do your eyes move through the composition?
Could your own artwork utilize a similar organisational structure?

Line

What types of linear mark-making are shown (thick; thin; brusque; long; soft; assuming; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What temper, moods, emotions or ideas do these evoke?
Are there whatever interrupted, suggested or implied lines (i.e. lines that can't literally be seen, but the viewer's brain connects the dots between split elements)?
Where are the dominating lines in the limerick and what is the effect of these? Can yous overlay tracing paper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate material qualities, texture, pattern or rhythm;
- Boundary lines: may segment, split up or separate different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or atomic number 82 the middle to focal points (eye tracking studies bespeak that our eyes leap from one point of interest to another, rather than move smoothly or predictably along leading lines⁹. Lines may nonetheless assist to found accent by 'pointing' towards sure items);
- Parallel lines: may create a sense of depth or movement through space within a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may advise height, reaching up or falling;
- Intersecting perpendicular lines: may suggest rigidity, strength;
- Abstract lines: may balance the composition, create contrast or emphasis;
- Angular / diagonal lines: may suggest tension or unease;
- Chaotic lines: may suggest a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: describe form (larn more near contour lines in our article near line drawing);
- Curving / organic lines: may advise nature, peace, move or energy.
What is the human relationship between line and iii-dimensional course? Areoutlines used to define form and edges?
Would it be advisable to use line in a similar mode inside your own artwork?

Shape and grade

Can you place a dominant visual linguistic communication within the shapes and forms shown (i.e. geometric; athwart; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
How are the edges of forms treated (i.e. practise they fade away or blur at the edges, every bit if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney⁹, do they 'dissolve into sketchy lines, paint strokes or drips')?
Are there any three-dimensional forms or relief elements within the artwork, such equally carved pieces, protruding or sculptural elements? How does this touch the viewing of the work from different angles?
Is there a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?
How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in scale or size; distracting or awkward junctions)?
Are silhouettes (external edges of objects) considered?

All shapes take silhouettes, and vision research has shown that one of the first tasks of perception is to exist able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism⁹

Are forms designed with ergonomics and homo scale in mind?

Ergonomics: an practical science concerned with designing and arranging things people use and then that the people and things collaborate most efficiently and safely – Merriam-webster.com

Can y'all identify which forms are functional or structural, versus ornamental or decorative?
Have any forms been disassembled, 'cut away' or exposed, such as a sectional drawing? What is the purpose of this (i.e. to explain structure methods; communicate information; dramatic effect)?
Would it be appropriate to use shape and form in a like manner inside your own artwork?

Value / tone / calorie-free

Has a broad tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range express (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the consequence of this?
Where are the calorie-free sources within the artwork or scene? Is in that location a unmarried consequent low-cal source or multiple sources of light (sunshine; calorie-free bulbs; torches; lamps; luminous surfaces)? What is the outcome of these choices (i.e. mimics natural lighting conditions at a certain time of day or dark; figures lit from the side to clarify form; contrasting background or spot-lighting used to accentuate a focal expanse; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine cleaved past surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complication; to heighten our understanding of narrative, mood or meaning)?

One of the most important ways in which artists tin use light to accomplish particular effects is in making strong contrasts between light and dark. This dissimilarity is often described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of iii-dimensional objects and figures apartment or tonally modeled? How do unlike tonal values change from 1 to the next (i.e. gentle, shine gradations; precipitous tonal bands)?
Are at that place any unusual, reflective or transparent surfaces, mediums or materials which reverberate or transmit light in a special way?
Has tone been used to aid communicate atmospheric perspective (i.e. paler and bluer as objects get further away)?
Are gallery or environmental light sources where the artwork is displayed stock-still or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your interpretation of the piece of work?
Are shadows depicted within the artwork? What is the result of these shadows (i.e. anchors objects to the page; creates the illusion of depth and space; creates dramatic contrasts)?
Practice sculptural protrusions or relief elements catch the low-cal and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer's feel?
How has tone been used to help directly the viewer's attention to focal areas?
Would it be appropriate to utilize value / tone in a like way within your own artwork? Why / why not?

Color / hue

Tin can you view the true colour of the artwork (i.eastward. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolour schemes take been used inside the artwork (i.e. harmonious; complementary; chief; monochrome; bawdy; warm; cool/cold)? Has the artist used a broad or limited colour palette (i.eastward. diverseness or unity)? Which colors dominate?
How would you lot describe the intensity of the colors (vibrant; brilliant; vivid; glowing; pure; saturated; strong; dull; muted; stake; subdued; bleached; diluted)?
Are colors transparent or opaque? Tin can you lot run into reflected color?
Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are at that place whatever precipitous color changes or unexpected uses of color?
What is the effect of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic depiction of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/blueprint/repetition; unity and variety inside the artwork; lack of color places emphasis upon shape, detail and form)? What kind of atmosphere do these colors create?

Information technology is often said that warm colors (carmine, orange, xanthous) come forrad and produce a sense of excitement (yellowish is said to suggest warmth and happiness, as in the smiley confront), whereas cool colors (blue, green) recede and have a calming result. Experiments, notwithstanding, have proved inconclusive; the response to color – despite clichés almost seeing crimson or feeling blueish – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing Well-nigh Fine art²

Would information technology be appropriate to utilise color in a like way within your own artwork?

Texture / surface / design

Are there any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; crude; smooth; shiny; varnished; burnished; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture, such as cross-hatching; finely detailed and intricate areas; organic patterns such as leafage or pocket-sized stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; rest between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information nigh a subject, i.e. softness of fur or strands of pilus)?
Would information technology be appropriate to apply texture / surface in a similar way within your own artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-ground, background; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective – learn more about ane betoken perspective here; tonal modeling; relationships with adjacent objects and those in close proximity – including the homo form – to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where truthful scale is unknown)?
Has an unusual viewpoint been used (i.e. worm's view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the effect of this viewpoint (i.e. allows certain parts of the scene to be ascendant and overpowering or squashed, condensed and foreshortened; or suggests a narrative betwixt two separate spaces; provides more information about a space than would normally exist seen)?
Is the accent upon mass or void? How densely bundled are components inside the artwork or film plane? What is the relationship betwixt object and surrounding space (i.e. compact / crowded / decorated / densely populated, with little surrounding infinite; spacious; careful interplay between positive and negative infinite; objects clustered to create areas of visual involvement)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business organization / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with existent infinite – in and around the artwork (i.e. self-independent; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the human relationship between interior and exterior space? What connections or contrasts occur betwixt inside and out? Is it comprised of a serial of separate or linked spaces?
Would information technology be appropriate to utilize space in a similar mode inside your own artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Have materials been curtained or presented deceptively (i.due east. is there an authenticity / honesty of materials; are materials celebrated; is the construction visible or exposed)? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of use; cost; cultural significance; immovability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; contemporary; innovative)? Information technology is important to notation that the examiners exercise non want the regurgitation of long, technical processes, but rather to see personal observations about how processes issue and influence the artwork in question. Would replicating part of the artwork help yous gain a better agreement of the processes used?
Has the artwork been congenital in layers or stages? For example:
- Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;
- Compages: brief > concepts > evolution > working drawings > foundations > structure > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > printing.
How does the use of media help the creative person to communicate ideas?
Are these methods useful for your own project?

Finally, remember that these questions are a guide but and are intended to make y'all commencement to think critically about the art you are studying and creating.

Pace Frod1962