Art Work Self Analysis Is It Good Questions Focal Point Balance

Last Updated on May 27, 2021

This article has been written for loftier school fine art students who are working upon a disquisitional study of art, sketchbook annotation or an essay-based artist study. It contains a list of questions to guide students through the process of analyzing visual textile of whatever kind, including cartoon, painting, mixed media, graphic blueprint, sculpture, printmaking, architecture, photography, textiles, fashion then on (the word 'artwork' in this commodity is all-encompassing). The questions include a wide range of specialist fine art terms, prompting students to use discipline-specific vocabulary in their responses. It combines advice from art analysis textbooks also as from high school art teachers who take kickoff-manus experience education 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 Fine art and Pattern sketchbook page analysing the work of Jim Dine, by Rhea Maheshwari, ACG Parnell College.

Why do nosotros report art?

Almost all high school art students conduct out critical analysis of artist piece of work, in conjunction with creating practical piece of work. Looking critically at the work of others allows students to empathize compositional devices so explore these in their ain art. This is one of the best ways for students to learn.

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

Art analysis tips

'I like this' or 'I don't like this' without whatever further explanation or justification is not analysis. Personal opinions must exist supported with explanation, show or justification.
'Assay of artwork' does not hateful 'clarification of artwork'. To gain loftier marks, students must movement beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher lodge 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 virtually why this is the case – perhaps a deliberate attempt by the creative person to draw attention to a focal indicate, helping to convey thematic ideas.

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

Cover a range of different visual elements and design principles. It is common for students to become experts at writing nigh one or two elements of limerick, while neglecting everything else – for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete assay of the artwork. Students should ensure that they encompass a wide range of art elements and pattern principles, too every bit address context and meaning, where required. The questions below are designed to ensure that students cover a wide range of relevant topics within their assay.
Write alongside the artwork discussed. In almost all cases, written assay 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.
Support writing with visual analysis. It is almost always helpful for high school students to back up written material with sketches, drawings and diagrams that help the educatee sympathise and analyse the piece of art. This might include composition sketches; diagrams showing the principal structure of an artwork; detailed enlargements of small sections; experiments imitating utilize of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an of import function in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists take learned from each other. In doing this, you lot will engage with a work and an creative person's approach even if you previously knew nothing about it. If possible practice this whenever you can, not from a postcard, the internet or a picture show in a book, but from the actual work itself. This is useful because it forces you to look closely at the piece of work and to consider elements you might not accept noticed earlier. – Susie Hodge, How to Look at Art^vii

Finally, when writing nearly art, students should communicate with clarity; demonstrate subject area-specific knowledge; use right terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more than detail in our article about high school sketchbooks.

What should students write about?

Although each aspect of composition is treated separately in the questions below, students should consider the relationship betwixt visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to form pattern principles (such as unity, multifariousness, emphasis, authorisation, residual, symmetry, harmony, movement, dissimilarity, rhythm, blueprint, scale, proportion) to communicate meaning.

Equally complex as works of art typically are, there are actually simply 3 full general categories of statements one can make about them. A statement addresses grade, content or context (or their various interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal analysis – the outcome of looking closely – is an analysis of the course that the artist produces; that is, an analysis of the piece of work of fine 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 pregnant. – Sylvan Barnet, A Curt Guide to Writing About Art^two

This video past Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a slice of fine art (it 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 add-on to the formal analysis illustrated here):

Composition assay: a list of questions

The questions beneath are designed to facilitate directly engagement with an artwork and to encourage a latitude and depth of understanding of the artwork studied. They are intended to prompt college lodge thinking and to assist students go far at well-reasoned analysis.

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 most helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, just non a sculpture). The words provided as examples are intended to assistance students think about advisable vocabulary to use when discussing a particular topic. Definitions of more circuitous words have been provided.

Students should non endeavor to re-create out questions and then answer them; rather the questions should exist considered a starting point for writing bullet pointed annotation or sentences in paragraph class.

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 data well-nigh composition. For more details, delight refer to the bibliography below.

CONTENT, CONTEXT AND Pregnant

Subject matter / themes / bug / narratives / stories / ideas

There can exist different, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily about what the artist wanted it to exist about. – Terry Barrett, Criticizing Fine art: Understanding the Contemporary^{half dozen}

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

Does the artwork fall within an established genre (i.east. historical; mythical; religious; portraiture; landscape; yet life; fantasy; architectural)?
Are in that location any recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist grade; primitive; abstracted; curtained; suggested; blurred or focused)?
Have people been included? What can we tell virtually them (i.east. 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. directly eye contact with viewer; downcast; interested in other subjects inside the artwork)? Can nosotros work out relationships betwixt figures from the way they are posed?

What do the vesture, furnishings, accessories (horses, swords, dogs, clocks, business organization 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 figure's social identity (monarch, clergyman, bays wife) and personality (intense, absurd, inviting)? – Sylvan Barnet, A Short Guide to Writing About Art^two

What props and important details are included (mantle; costumes; beautification; architectural elements; emblems; logos; motifs)? How practise aspects of setting back up the primary field of study? What is the outcome of including these items within the system (visual unity; connections betwixt dissimilar parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate water ice cream on the same plate, your surprise might be acquired past the juxtaposition, or the side-by-side contrast, of the 2 foods. – Vocabulary.com

A motif is an chemical element in a composition or design that tin be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstruse, and information technology tin be endowed with symbolic significant. Motifs tin can be repeated in multiple artworks and often recur throughout the life's work of an private artist. – John A. Parks, Universal Principles of Art¹¹

Does the artwork communicate an action, narrative or story (i.e. historical event or illustrate a scene from a story)? Has the arrangement been embellished, ready up or contrived?
Does the artwork explore movement? Practice y'all gain a sense that parts of the artwork are about to change, topple or fall (i.east. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-activity; live performance art; video fine art; kinetic fine art)?
What kind of abstract elements are shown (i.eastward. bars; shapes; splashes; lines)? Take these been derived from or inspired past realistic forms? Are they the result of spontaneous, adventitious cosmos or conscientious, deliberate arrangement?
Does the work include the appropriation of work by other artists, such as within a parody or pop art? What consequence does this have (i.e. copyright concerns)?

Parody: mimicking the appearance and/or manner of something or someone, but with a twist for comic effect or critical comment, as in Sabbatum Nighttime Alive'south political satires – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

Does the subject area captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.due east. dangerous places; abnormally positioned items; man faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned –James Gurney writes more than virtually this fascinating topic.
What kind of text has been used (i.e. font size; font weight; font family; stenciled; hand-drawn; computer-generated; printed)? What has influenced this selection 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.eastward. allegory; iconographic elements; signs; metaphor; irony)?

Apologue is a device whereby abstract ideas can be communicated using images of the physical globe. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic pregnant. Their relationships and interactions combine to create more than circuitous meanings. – John A. Parks, Universal Principles of Art¹¹

An iconography is a particular range or system of types of paradigm 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 pigeon which represents the Holy Spirit. – Tate.org.uk

What tone of voice does the artwork have (i.e. deliberate; honest; autobiographical; obvious; straight; 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 discipline matter choices assistance to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?
Does the championship alter the style you lot interpret the piece of work?
Were there any pattern constraints relating to the bailiwick affair or theme/s (i.e. a sculpture commissioned to correspond a specific subject, place or idea)?
Are at that place thematic connections with your own projection? What tin can you acquire from the way the artist has approached this subject?

Wider contexts

All art is in function about the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Gimmicky⁶

Supported past inquiry, can you identify when, where and why the piece of work was created and its original intention or purpose (i.e. private sale; commissioned for a specific possessor; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or applied utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this background influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audience)?
Where is the identify of construction or blueprint site and how does this influence the artwork (i.due east. reflects local traditions, adroitness, or community; complements surrounding designs; designed to adjust weather conditions / climate; built on historic site)? Was the artwork originally located somewhere unlike?
Which events and surrounding environments take influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, historic events, religious settings, cultural events)? What effect did these have?
Is the work characteristic of an artistic style, motion or time period? Has it been influenced by trends, fashions or ideologies? How tin you tell?
Tin you make whatever relevant connections or comparisons with other artworks? Have other artists explored a like subject field in a similar way? Did this occur earlier or later on this artwork was created?
Can you make whatever relevant connections to other fields of study or expression (i.e. geography, mathematics, literature, motion-picture show, music, history or scientific discipline)?
Which key biographical details well-nigh the artist are relevant in agreement this artwork (upbringing and personal state of affairs; family and relationships; psychological state; wellness and fettle; socioeconomic status; employment; ethnicity; culture; gender; education, religion; interests, attitudes, values and beliefs)?
Is this artwork function of a larger body of work? Is this typical of the piece of work the creative person is known for?
How might your own upbringing, beliefs and biases distort your estimation of the artwork? Does your own response differ from the public response, that of the original audience and/orestimation by critics?
How exercise 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.e. availability of materials; brandish constraints; design brief restrictions; screen sizes; mutual aspect ratios in film or photography such equally 4:3 or 2:three; or newspaper sizes such equally A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in total)? Why is this format appropriate for the subject area matter?
Are dissimilar parts of the artwork physically separate, such as within a diptych or triptych?
Where are the boundaries of the artwork (i.e. is the artwork self-contained; meaty; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork have a fixed, permanent format, or was itmodified, moved or adjusted over fourth dimension? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind movement, surface chafe; structural failure – swell, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional motility, such every bit rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project and 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 relate to the environment where it is positioned, used, installed or hung (i.east. harmonious with mural typography; sensitive to side by side structures; imposing or dwarfed by environs; human scale)? Is the artwork designed to be viewed from one vantage betoken (i.e. front facing; viewed from below; approached from a main entrance; prepare at human eye level) or many? Are images taken from the all-time angle?
Would a similar format benefit your own projection? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of system 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 system of system help with the communication of ideas? Tin can you draw a diagram to evidence the bones structure of the artwork?
Tin can you see a clear intention with alignment and positioning of parts within the artwork (i.due east. edges aligned; items spaced every bit; simple or complex organisation; overlapping, clustered 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 upshot do these visual devices have (i.east. imply bureaucracy; help the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork take a primary centrality of symmetry (vertical, diagonal, horizontal)? Tin can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.due east. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Can yous draw a diagram to illustrate emphasis and dominance (i.e. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are ascendant items located within the frame?
How do your eyes move through the limerick?
Could your own artwork use a similar organisational structure?

Line

What types of linear mark-making are shown (thick; sparse; short; long; soft; bold; fragile; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cantankerous-hatching; meandering; gestural, fluid; flowing; jagged; spiky; abrupt)? What temper, moods, emotions or ideas do these evoke?
Are there any interrupted, suggested or implied lines (i.eastward. lines that can't literally exist seen, but the viewer's brain connects the dots between carve up elements)?
Where are the dominating lines in the composition and what is the effect of these? Tin can yous overlay tracing newspaper upon an artwork to illustrate some of the of import lines?
- Repeating lines: may simulate material qualities, texture, pattern or rhythm;
- Boundary lines: may segment, separate or separate dissimilar areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or lead the heart to focal points (middle tracking studies indicate that our eyes leap from one point of involvement to another, rather than move smoothly or predictably along leading lines⁹. Lines may all the same help to plant emphasis by 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or movement through space inside a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest superlative, reaching upwards or falling;
- Intersecting perpendicular lines: may propose rigidity, strength;
- Abstract lines: may balance the composition, create contrast or emphasis;
- Angular / diagonal lines: may advise tension or unease;
- Chaotic lines: may propose a sense of agitation or panic;
- Underdrawing, construction lines or profile lines: depict course (acquire more near profile lines in our commodity about line drawing);
- Curving / organic lines: may suggest nature, peace, motility or free energy.
What is the relationship between line and three-dimensional grade? Areoutlines used to define form and edges?
Would it be appropriate to use line in a similar way inside your ain artwork?

Shape and course

Can you identify a dominant visual language within the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; gratis-flowing; varied; irregular; complex; minimal)? Why is this visual language advisable?
How are the edges of forms treated (i.e. do they fade away or blur at the edges, as if melting into the folio; 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 inside the artwork, such as carved pieces, protruding or sculptural elements? How does this touch the viewing of the work from different angles?
Is there a diversity or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, remainder composition and/or create harmony / visual unity; multifariousness may create visual involvement or overwhelm the viewer with anarchy)?
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 enquiry 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 being scale in listen?

Ergonomics: an engineering concerned with designing and arranging things people apply so that the people and things collaborate near efficiently and safely – Merriam-webster.com

Can you place which forms are functional or structural, versus ornamental or decorative?
Have whatsoever forms been disassembled, 'cut abroad' or exposed, such as a exclusive cartoon? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic consequence)?
Would it exist appropriate to utilise shape and form in a like style within your own artwork?

Value / tone / light

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 limited (i.eastward. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with trivial mid-tone values)? What is the issue of this?
Where are the light sources within the artwork or scene? Is at that place a single consistent light source or multiple sources of calorie-free (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting weather condition at a certain time of twenty-four hours or night; figures lit from the side to clarify course; 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 by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complication; to enhance our understanding of narrative, mood or meaning)?

One of the virtually important ways in which artists can use light to attain detail furnishings is in making potent contrasts betwixt lite and night. This contrast is often described as chiaroscuro. – Matthew Treherne, Analysing Paintings, Academy of Leeds³

Are representations of iii-dimensional objects and figures flat or tonally modeled? How practice unlike tonal values alter from one to the side by side (i.eastward. gentle, shine gradations; precipitous tonal bands)?
Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit low-cal in a special way?
Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer as objects become further away)?
Are gallery or environmental calorie-free sources where the artwork is displayed fixed or fluctuating? Does the piece of work appear different when viewed at different times of mean solar day? How does this affect your interpretation of the work?
Are shadows depicted within the artwork? What is the effect of these shadows (i.e. anchors objects to the page; creates the illusion of depth and infinite; creates dramatic contrasts)?
Exercise 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'due south experience?
How has tone been used to help direct the viewer's attending to focal areas?
Would it be appropriate to utilise value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes have been used within the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; absurd/cold)? Has the artist used a broad or express color palette (i.east. variety or unity)? Which colors dominate?
How would you depict the intensity of the colors (vibrant; bright; brilliant; glowing; pure; saturated; strong; boring; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you see reflected color?
Has color contrast been used within the artwork (i.e. farthermost contrasts; juxtaposition of complementary colors; garish / ambivalent / jarring)? Are there whatsoever abrupt colour changes or unexpected uses of colour?
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 residuum; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, detail and form)? What kind of temper practise these colors create?

Information technology is often said that warm colors (red, orange, xanthous) come up forrad and produce a sense of excitement (yellow is said to suggest warmth and happiness, as in the smiley face), whereas cool colors (bluish, greenish) recede and have a calming issue. Experiments, however, have proved inconclusive; the response to color – despite clichés about seeing red or feeling blueish – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Brusque Guide to Writing About Fine artⁱⁱ

Would information technology be advisable to use color in a similar manner inside your own artwork?

Texture / surface / blueprint

Are there any interesting textural, tactile or surface qualities within the artwork (i.east. bumpy; grooved; indented; scratched; stressed; rough; smoothen; shiny; varnished; glassy; 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-size stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide multifariousness; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; fake of texture conveys data virtually a subject, i.e. softness of fur or strands of hair)?
Would it exist advisable to use texture / surface in a similar way within your ain artwork?

Infinite

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 than about one point perspective here; tonal modeling; relationships with side by side objects and those in shut proximity – including the human course – 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 certain parts of the scene to be ascendant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two carve up spaces; provides more information about a infinite than would normally be seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or picture aeroplane? What is the relationship betwixt object and surrounding space (i.eastward. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay betwixt positive and negative space; objects amassed to create areas of visual interest)? What is the event of this (i.due east. creates a sense of emptiness or isolation; business concern / visual clutter creates a feeling of anarchy or claustrophobia)?
How does the artwork appoint with real space – in and effectually the artwork (i.e. 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 exterior space? What connections or contrasts occur between inside and out? Is information technology comprised of a serial of separate or linked spaces?
Would it be appropriate to use space in a similar way within your own artwork?

Use of media / materials

What materials and mediums has the artwork been synthetic from? Accept materials been concealed or presented deceptively (i.e. is at that place an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; forcefulness; flexibility; pliability; fragility; ease of use; toll; cultural significance; durability; 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 do non desire the regurgitation of long, technical processes, just rather to encounter personal observations about how processes outcome and influence the artwork in question. Would replicating part of the artwork help you gain a ameliorate understanding of the processes used?
Has the artwork been built in layers or stages? For example:
- Painting: gesso footing > textured mediums > underdrawing > blocking in colors > defining form > concluding details;
- Architecture: cursory > concepts > development > working drawings > foundations > construction > cladding > finishes;
- Graphic design: brief > concepts > evolution > Photoshop > proofing > printing.
How does the use of media help the artist to communicate ideas?
Are these methods useful for your own projection?

Finally, recollect that these questions are a guide only and are intended to make you start to think critically about the art you are studying and creating.