When Writing About Artwhich Step Considers the Formal Elements in Their Style and Context?

Last Updated on May 27, 2021

This commodity has been written for high school art students who are working upon a critical study of art, sketchbook annotation or an essay-based creative person study. It contains a list of questions to guide students through the process of analyzing visual material of whatsoever kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, manner and and so on (the discussion 'artwork' in this article is all-encompassing). The questions include a wide range of specialist fine art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from art analysis textbooks too as from high school art teachers who take showtime-manus feel teaching these concepts to students.

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How to analyse a piece of art — International GCSE artist analysis example: The image above shows part of an A* IGSCE Art and Design sketchbook page analysing the work of Jim Dine, by Rhea Maheshwari, ACG Parnell College.

Why do we study art?

Well-nigh all high school art students bear out critical analysis of artist work, in conjunction with creating applied work. Looking critically at the piece of work of others allows students to understand compositional devices and so explore these in their own art. This is ane of the all-time ways for students to learn.

Instructors who assign formal analyses desire y'all to look—and look carefully. Think of the object equally a series of decisions that an artist made. Your job is to effigy out and describe, explicate, and interpret those decisions and why the artist may have fabricated them. – The Writing Center, University of Due north Carolina at Chapel Hill¹⁰

Fine art assay tips

'I like this' or 'I don't like this' without whatever farther caption or justification is not analysis. Personal opinions must be supported with explanation, evidence or justification.
'Analysis of artwork' does non 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 ascertainment with a thoughtful assumption nearly why this is the case – possibly a deliberate attempt by the artist to draw attending to a focal point, helping to convey thematic ideas.

Although description is an important part of a formal analysis, description is not enough on its ain. Yous must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each chemical element influences the work'southward overall result on the viewer. – Sylvan Barnet, A Brusque Guide to Writing About Art²

Encompass a range of different visual elements and blueprint principles. It is common for students to go experts at writing well-nigh one or two elements of composition, while neglecting everything else – for instance, simply focusing upon the apply of colour 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 design principles, every bit well as address context and meaning, where required. The questions beneath are designed to ensure that students cover a broad range of relevant topics within their analysis.
Write alongside the artwork discussed. In almost all cases, written analysis should be presented aslope the work discussed, so that it is clear which artwork comments refer to. This makes information technology easier for examiners to follow and evaluate the writing.
Support writing with visual analysis. It is almost always helpful for high school students to back up written textile with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the primary structure of an artwork; detailed enlargements of small sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines then on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists have learned from each other. In doing this, you lot will engage with a work and an artist's approach even if yous previously knew cypher nearly it. If possible practice this whenever you can, not from a postcard, the internet or a moving picture in a book, but from the bodily piece of work itself. This is useful because information technology forces you lot to wait closely at the work and to consider elements you might not have noticed before. – Susie Hodge, How to Look at Art^vii

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

What should students write nearly?

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

As complex as works of art typically are, there are actually only three general categories of statements one can brand about them. A statement addresses form, content or context (or their diverse interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

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

This video past Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a piece of art (information technology is important to note that this video is an example of 'formal assay' and doesn't include contextual assay, which is likewise required past many high school art test boards, in improver to the formal assay illustrated hither):

Composition analysis: a list of questions

The questions below are designed to facilitate directly engagement with an artwork and to encourage a breadth and depth of agreement of the artwork studied. They are intended to prompt college order thinking and to assist students get in at well-reasoned analysis.

It is not expected that students answer every question (doing so would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are near helpful and relevant for the artwork studied (for instance, some questions are advisable for analyzing a painting, simply not a sculpture). The words provided as examples are intended to assistance students recall about appropriate vocabulary to apply when discussing a detail topic. Definitions of more complex words have been provided.

Students should not try to copy out questions and then 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 small 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 limerick. For more details, please refer to the bibliography below.

CONTENT, CONTEXT AND MEANING

Field of study matter / themes / issues / narratives / stories / ideas

There tin can be different, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily nigh what the artist wanted it to be almost. – Terry Barrett, Criticizing Art: Agreement the Contemporary⁶

Our involvement in the painting grows only when we forget its championship and accept an involvement in the things that it does not mention…" – Françoise Barbe-Gall, How to Await at a Painting⁸

Does the artwork autumn within an established genre (i.e. historical; mythical; religious; portraiture; landscape; withal life; fantasy; architectural)?
Are there whatever recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?
Have people been included? What tin can nosotros tell almost them (i.e. identity; age; attire; profession; cultural connections; wellness; family relationships; wealth; mood/expression)? What can we larn from their pose (i.due east. frontal; contour; partly turned; torso language)? Where are they looking (i.east. direct middle contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the mode they are posed?

What practise the clothing, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and then along), groundwork, bending of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure'due south social identity (monarch, clergyman, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing Most Art²

What props and of import details are included (mantle; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject? What is the effect of including these items within the organization (visual unity; connections between unlike parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to some other; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate water ice foam on the same plate, your surprise might exist acquired past 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 tin be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstract, and it can be endowed with symbolic meaning. Motifs tin can be repeated in multiple artworks and often recur throughout the life'due south work of an private creative person. – John A. Parks, Universal Principles of Art^eleven

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

Parody: mimicking the appearance and/or fashion of something or someone, only with a twist for comic effect or critical annotate, equally in Saturday Night Live's political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

Does the subject captivate an instinctual response, such equally items that are informative, shocking or threatening for humans (i.eastward. dangerous places; abnormally positioned items; human faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attending, regardless of where they are positioned –James Gurney writes more about this fascinating topic.
What kind of text has been used (i.e. font size; font weight; font family unit; stenciled; hand-drawn; calculator-generated; printed)? What has influenced this choice of text?
Do key objects or images have symbolic value or provide a cue to pregnant? 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 circuitous meanings. – John A. Parks, Universal Principles of Fine art¹¹

An iconography is a particular range or system of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

What tone of vocalism does the artwork have (i.east. deliberate; honest; autobiographical; obvious; direct; unflinching; against; 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; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which bailiwick thing choices assist to communicate this mood (i.e. weather condition and lighting conditions; color of objects and scenes)?
Does the title modify the way you lot interpret the work?
Were there any blueprint constraints relating to the bailiwick matter or theme/s (i.e. a sculpture deputed to correspond a specific subject, identify or idea)?
Are at that place thematic connections with your ain project? What can you acquire from the way the artist has approached this subject?

Wider contexts

All fine art is in function about the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Gimmicky^six

Supported past research, can y'all identify when, where and why the work was created and its original intention or purpose (i.e. private auction; deputed for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a blueprint brief; private viewing; public viewing)? In what way has this background influenced the consequence (i.e. availability of tools, materials or fourth dimension; expectations of the patron / audience)?
Where is the place of structure or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to adapt atmospheric condition conditions / climate; built on historic site)? Was the artwork originally located somewhere dissimilar?
Which events and surrounding environments have influenced this work (i.east. natural events; social movements such as feminism; political events, economic situations, historic events, religious settings, cultural events)? What event did these have?
Is the piece of work feature of an creative style, movement or time period? Has it been influenced by trends, fashions or ideologies? How tin can you tell?
Can you make any relevant connections or comparisons with other artworks? Have other artists explored a like subject in a similar way? Did this occur before or after this artwork was created?
Can you make any relevant connections to other fields of study or expression (i.eastward. geography, mathematics, literature, moving-picture show, music, history or science)?
Which key biographical details nearly the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; civilization; gender; education, faith; interests, attitudes, values and beliefs)?
Is this artwork part of a larger trunk of work? Is this typical of the work the artist is known for?
How might your own upbringing, beliefs and biases distort your estimation of the artwork? Does your ain response differ from the public response, that of the original audience and/orestimation by critics?
How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORM

Format

What is the overall size, shape and orientation of the artwork (i.east. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.east. availability of materials; display constraints; blueprint brief restrictions; screen sizes; common attribute ratios in film or photography such as 4:3 or two:3; or paper sizes such as A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject field affair?
Are different parts of the artwork physically separate, such as within a diptych or triptych?
Where are the boundaries of the artwork (i.east. is the artwork self-contained; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork accept a stock-still, permanent format, or was itmodified, moved or adjusted over time? What causes such changes (i.due east. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind motion, surface abrasion; structural failure – cracking, breaking; damage acquired by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterward; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project and then expansive it takes years to construct)? How does this change affect the artwork? Are in that location stylistic variances between parts?
How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to side by side structures; imposing or dwarfed past surroundings; human scale)? Is the artwork designed to be viewed from one vantage point (i.east. front end facing; viewed from below; approached from a master entrance; fix at human eye level) or many? Are images taken from the best angle?
Would a similar format benefit your own project? Why / why not?

Construction / layout

Has the artwork been organised using a formal organization of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; filigree format; geometric; dominant triangle; or circular composition) or is the system less predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this organisation of arrangement assist with the communication of ideas? Tin can you draw a diagram to show the bones structure of the artwork?
Can you see a clear intention with alignment and positioning of parts inside the artwork (i.e. edges aligned; items spaced equally; unproblematic or circuitous arrangement; overlapping, amassed or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What consequence exercise these visual devices have (i.e. imply hierarchy; aid the viewer understand relationships betwixt parts of artwork; create rhythm)?
Does the artwork have a principal centrality 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 describe a diagram to illustrate emphasis and dominance (i.eastward. 'blocking in' mass, where the 'heavier' dominant forms announced in the composition)? Where are dominant items located within the frame?
How practise your eyes move through the composition?
Could your own artwork use a similar organisational construction?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; bold; fragile; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What atmosphere, moods, emotions or ideas do these evoke?
Are at that place any interrupted, suggested or implied lines (i.e. lines that tin can't literally be seen, but the viewer's brain connects the dots between separate elements)?
Where are the dominating lines in the composition and what is the effect of these? Can you 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 carve up different areas;
- Leading lines: may manipulate the viewer'southward gaze, directing vision or pb the eye to focal points (eye tracking studies indicate that our optics jump from ane signal of interest to another, rather than movement smoothly or predictably forth leading lines⁹. Lines may nonetheless aid to constitute emphasis past 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or movement through infinite within a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest top, reaching upwards or falling;
- Intersecting perpendicular lines: may suggest rigidity, forcefulness;
- Abstract lines: may balance the composition, create dissimilarity or emphasis;
- Angular / diagonal lines: may advise tension or unease;
- Chaotic lines: may suggest a sense of agitation or panic;
- Underdrawing, structure lines or contour lines: draw form (learn more about contour lines in our article near line drawing);
- Curving / organic lines: may propose nature, peace, movement or energy.
What is the relationship between line and three-dimensional grade? Areoutlines used to define form and edges?
Would it be advisable to use line in a similar way inside your ain artwork?

Shape and form

Tin y'all place a dominant visual language inside the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual linguistic communication appropriate?
How are the edges of forms treated (i.eastward. practice they fade abroad or blur at the edges, as if melting into the folio; ripped or torn; distinct and difficult-edged; or, in the words of James Gurney⁹, practise they 'dissolve into sketchy lines, paint strokes or drips')?
Are there whatever iii-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from unlike angles?
Is there a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance limerick 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 have silhouettes, and vision research has shown that one of the first tasks of perception is to be 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 human scale in mind?

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

Can you identify which forms are functional or structural, versus ornamental or decorative?
Have any forms been disassembled, 'cut away' or exposed, such as a exclusive drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic effect)?
Would it be appropriate to utilise shape and course in a like mode within your own artwork?

Value / tone / low-cal

Has a wide tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the event of this?
Where are the calorie-free sources within the artwork or scene? Is there a single consistent light source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.eastward. mimics natural lighting conditions at a certain time of 24-hour interval or night; figures lit from the side to clarify class; contrasting background or spot-lighting used to accentuate a focal area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine broken past surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our understanding of narrative, mood or meaning)?

Ane of the near important ways in which artists can utilize lite to achieve particular furnishings is in making strong contrasts betwixt low-cal and dark. This contrast is ofttimes described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of three-dimensional objects and figures apartment or tonally modeled? How practise different tonal values change from ane to the side by side (i.eastward. gentle, smooth gradations; abrupt tonal bands)?
Are there whatsoever unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special way?
Has tone been used to help communicate atmospheric perspective (i.due east. paler and bluer equally objects get further away)?
Are gallery or environmental lite 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 estimation of the work?
Are shadows depicted within the artwork? What is the effect of these shadows (i.due east. anchors objects to the folio; creates the illusion of depth and infinite; creates dramatic contrasts)?
Do sculptural protrusions or relief elements catch the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer's experience?
How has tone been used to aid direct the viewer's attention to focal areas?
Would information technology be advisable to employ value / tone in a similar way within your own artwork? Why / why non?

Color / hue

Tin y'all view the truthful colour of the artwork (i.due east. are y'all viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes have been used within the artwork (i.e. harmonious; complementary; main; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited colour palette (i.due east. variety or unity)? Which colors boss?
How would you describe the intensity of the colors (vibrant; bright; bright; glowing; pure; saturated; strong; tedious; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can y'all see reflected color?
Has color contrast been used within the artwork (i.east. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there whatsoever abrupt color changes or unexpected uses of color?
What is the result of these colour choices (i.eastward. expressing symbolic or thematic ideas; descriptive or realistic depiction of local colour; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/pattern/repetition; unity and diversity within the artwork; lack of color places accent upon shape, detail and form)? What kind of atmosphere practice these colors create?

Information technology is often said that warm colors (red, orange, xanthous) come forward and produce a sense of excitement (yellow is said to advise warmth and happiness, as in the smiley face), whereas cool colors (blue, greenish) recede and have a calming event. Experiments, still, have proved inconclusive; the response to colour – despite clichés about seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Brusk Guide to Writing About Artⁱⁱ

Would it be appropriate to apply color in a similar way within your ain artwork?

Texture / surface / design

Are at that place any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; shine; shiny; varnished; glassy; sleeky; 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 equally cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what consequence does this have (i.eastward. used intermittently to provide diverseness; repeating design creates rhythm; patterns broken create focal points; textured areas create visual links and unity betwixt dissever areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; simulated of texture conveys data about a subject area, i.eastward. softness of fur or strands of hair)?
Would it be appropriate to apply texture / surface in a similar way within your own artwork?

Space

Is the pictorial infinite shallow or deep? How does the artwork create the illusion of depth (i.east. layering of foreground, middle-footing, groundwork; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective – learn more nearly 1 betoken perspective here; tonal modeling; relationships with next objects and those in shut proximity – including the human grade – to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where true 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.eastward. allows sure parts of the scene to exist dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative betwixt two dissever spaces; provides more than information near a space than would usually exist seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or picture plane? What is the relationship between object and surrounding space (i.e. compact / crowded / decorated / densely populated, with little surrounding infinite; spacious; careful interplay between positive and negative space; objects amassed to create areas of visual interest)? What is the consequence of this (i.e. creates a sense of emptiness or isolation; business organisation / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with real space – in and effectually the artwork (i.due east. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and outside space? What connections or contrasts occur between inside and out? Is information technology comprised of a series of divide or linked spaces?
Would information technology be appropriate to use space in a similar way within your ain artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Take materials been concealed or presented deceptively (i.e. is there an authenticity / honesty of materials; are materials historic; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of utilize; price; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.due east. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners do not want the regurgitation of long, technical processes, but rather to come across personal observations about how processes effect and influence the artwork in question. Would replicating function of the artwork help y'all proceeds a better understanding of the processes used?
Has the artwork been built in layers or stages? For example:
- Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining course > final details;
- Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > press.
How does the use of media help the artist to communicate ideas?
Are these methods useful for your own projection?

Finally, call up that these questions are a guide only and are intended to make you start to think critically nigh the art you lot are studying and creating.