When a Kine Bends a Shep Begins Questions Art Class

Concluding Updated on May 27, 2021

This article has been written for loftier school art students who are working upon a critical study of fine art, sketchbook note or an essay-based creative person report. Information technology contains a list of questions to guide students through the procedure of analyzing visual textile of any kind, including cartoon, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, mode and then on (the word 'artwork' in this article is extensive). The questions include a broad range of specialist art terms, prompting students to utilise field of study-specific vocabulary in their responses. It combines advice from art analysis textbooks also as from high school fine art teachers who accept commencement-hand experience teaching these concepts to students.

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

Why do we study art?

About all high school art students carry out critical assay of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to sympathize compositional devices and and then explore these in their own art. This is 1 of the all-time ways for students to learn.

Instructors who assign formal analyses want you to await—and wait advisedly. Think of the object equally a serial of decisions that an artist fabricated. Your job is to figure out and describe, explain, and interpret those decisions and why the artist may have made them. – The Writing Middle, University of North Carolina at Chapel Hill^ten

Art analysis tips

'I like 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.
'Analysis of artwork' does non mean 'description of artwork'. To gain high marks, students must movement beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher society 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 assumption about why this is the case – perhaps a deliberate try by the creative person to draw attending to a focal bespeak, helping to convey thematic ideas.

Although description is an of import office of a formal analysis, description is not plenty on its own. You must introduce and contextualize your descriptions of the formal elements of the piece of work then the reader understands how each element influences the work's overall event on the viewer. – Sylvan Barnet, A Brusque Guide to Writing Almost Art^two

Cover a range of unlike visual elements and blueprint principles. It is common for students to become experts at writing about ane or two elements of composition, while neglecting everything else – for example, merely focusing upon the use 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 pattern principles, every bit well as address context and meaning, where required. The questions below are designed to ensure that students cover a wide range of relevant topics within their analysis.
Write alongside the artwork discussed. In about all cases, written assay should exist presented alongside the work discussed, and so that information technology is articulate which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Support writing with visual analysis. Information technology is well-nigh e'er helpful for high schoolhouse students to support written material with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the main structure of an artwork; detailed enlargements of small sections; experiments imitating utilise of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an of import part in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-quondam way that artists take learned from each other. In doing this, you will engage with a piece of work and an creative person'southward approach even if you previously knew nil about it. If possible practise this whenever you can, non from a postcard, the net or a picture in a volume, simply from the actual work itself. This is useful because it forces you to await closely at the work and to consider elements you lot might not have noticed before. – Susie Hodge, How to Expect at Art^seven

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

What should students write about?

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

As complex as works of art typically are, at that place are really simply iii full general categories of statements one can make about them. A argument addresses class, 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 result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the piece of work of art, which is fabricated upward of such things as line, shape, colour, texture, mass, composition. These things requite the stone or sail its form, its expression, its content, its meaning. – Sylvan Barnet, A Curt Guide to Writing About Art²

This video past Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an fantabulous example of how to analyse a piece of art (it is important to note that this video is an example of 'formal analysis' and doesn't include contextual assay, which is also required by many high school fine art examination boards, in addition to the formal analysis illustrated here):

Composition analysis: a listing of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of agreement of the artwork studied. They are intended to prompt higher lodge thinking and to assist students make it at well-reasoned analysis.

Information technology is not expected that students answer every question (doing so would outcome in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are almost helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, but not a sculpture). The words provided as examples are intended to help students think about appropriate vocabulary to use when discussing a detail topic. Definitions of more than complex words have been provided.

Students should not try to copy out questions and and then answer them; rather the questions should exist considered a starting bespeak for writing bullet pointed note or sentences in paragraph form.

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

CONTENT, CONTEXT AND MEANING

Subject area matter / themes / problems / narratives / stories / ideas

There can exist different, competing, and contradictory interpretations of the same artwork.
An artwork is non necessarily well-nigh what the artist wanted it to exist about. – Terry Barrett, Criticizing Art: Agreement the Gimmicky⁶

Our interest in the painting grows only when we forget its title and take an interest in the things that it does non mention…" – Françoise Barbe-Gall, How to Wait at a Painting⁸

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; all the same life; fantasy; architectural)?
Are in that location whatever 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; abstracted; concealed; suggested; blurred or focused)?
Have people been included? What tin can nosotros tell about them (i.e. identity; age; attire; profession; cultural connections; wellness; family relationships; wealth; mood/expression)? What can we learn from their pose (i.eastward. frontal; profile; partly turned; body linguistic communication)? Where are they looking (i.e. straight eye contact with viewer; downcast; interested in other subjects within the artwork)? Tin can we piece of work out relationships between figures from the way they are posed?

What practice the clothing, furnishings, accessories (horses, swords, dogs, clocks, business concern ledgers and so forth), background, angle of the head or posture of the head and trunk, management of the gaze, and facial expression contribute to our sense of the figure's social identity (monarch, chaplain, trophy wife) and personality (intense, absurd, inviting)? – Sylvan Barnet, A Curt Guide to Writing About Art²

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the master subject field? What is the effect of including these items within the organisation (visual unity; connections between different parts of the artwork; directs attention; surprise; variety and visual involvement; separates / divides / borders; transformation from 1 object to another; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate ice cream on the same plate, your surprise might be caused by the juxtaposition, or the side-past-side contrast, of the ii 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 can exist representational or abstract, and it tin be endowed with symbolic pregnant. Motifs can be repeated in multiple artworks and ofttimes recur throughout the life'southward work of an private artist. – John A. Parks, Universal Principles of Art¹¹

Does the artwork communicate an action, narrative or story (i.eastward. historical upshot or illustrate a scene from a story)? Has the arrangement been embellished, set up up or contrived?
Does the artwork explore motion? 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.due east. multiple or sequential images; blurred edges; scene frozen mid-action; live performance art; video art; kinetic fine art)?
What kind of abstract elements are shown (i.e. bars; shapes; splashes; lines)? Take these been derived from or inspired by realistic forms? Are they the result of spontaneous, accidental creation or careful, deliberate organisation?
Does the piece of work include the cribbing of piece of work past other artists, such every bit within a parody or pop art? What effect does this accept (i.e. copyright concerns)?

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

Does the bailiwick captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human being faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements take hold of our attending, regardless of where they are positioned –James Gurney writes more than about 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 option of text?
Do key objects or images have symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. apologue; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstruse ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic pregnant. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Art¹¹

An iconography is a particular range or system of types of image used past 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.britain

What tone of vocalization does the artwork have (i.due east. deliberate; honest; autobiographical; obvious; directly; 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; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices assistance to communicate this mood (i.e. atmospheric condition and lighting weather; color of objects and scenes)?
Does the title change the fashion you translate the piece of work?
Were there any design constraints relating to the subject field thing or theme/s (i.e. a sculpture commissioned to represent a specific subject field, identify or thought)?
Are there thematic connections with your own project? What can you learn from the way the creative person has approached this subject?

Wider contexts

All art is in role most the globe in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Gimmicky⁶

Supported past enquiry, 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 owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this groundwork influenced the outcome (i.eastward. availability of tools, materials or time; expectations of the patron / audition)?
Where is the place of construction or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or customs; 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 equally feminism; political events, economic situations, historic events, religious settings, cultural events)? What event did these have?
Is the work feature of an creative style, move or time catamenia? Has it been influenced by trends, fashions or ideologies? How can you tell?
Can y'all brand whatever relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a similar mode? Did this occur before or after this artwork was created?
Tin can you make any relevant connections to other fields of written report or expression (i.e. geography, mathematics, literature, pic, music, history or science)?
Which key biographical details nigh the artist are relevant in agreement this artwork (upbringing and personal situation; family and relationships; psychological land; wellness and fitness; socioeconomic condition; employment; ethnicity; civilisation; gender; education, religion; interests, attitudes, values and beliefs)?
Is this artwork part of a larger torso of work? Is this typical of the work the artist is known for?
How might your own upbringing, beliefs and biases distort your interpretation of the artwork? Does your own 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 Course

Format

What is the overall size, shape and orientation of the artwork (i.due east. vertical, horizontal, portrait, mural or square)? Has this format been influenced past practical considerations (i.due east. availability of materials; brandish constraints; blueprint cursory restrictions; screen sizes; common aspect ratios in moving-picture show or photography such as 4:iii or 2:iii; or paper sizes such as A4, A3, A2, A1)?
How do images fit inside the frame (cropped; truncated; shown in full)? Why is this format advisable for the subject area matter?
Are unlike parts of the artwork physically carve up, such as within a diptych or triptych?
Where are the boundaries of the artwork (i.east. is the artwork cocky-contained; meaty; penetrating; sprawling)?
Is the artwork site-specific or designed to exist displayed across multiple locations or environments?
Does the artwork take a fixed, permanent format, or was itmodified, moved or adjusted over time? What causes such changes (i.eastward. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind movement, surface chafe; structural failure – not bad, breaking; damage acquired past unpredictable events, such as fire or vandalism; intentional motion, such every bit rotation or sensor response; intentional impermanence, such every bit an installation assembled for an exhibition and removed afterwards; 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 there stylistic variances between parts?
How does the scale 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 next structures; imposing or dwarfed by surroundings; homo calibration)? Is the artwork designed to exist viewed from one vantage indicate (i.e. front facing; viewed from beneath; approached from a main entrance; prepare at human being eye level) or many? Are images taken from the best angle?
Would a similar format benefit your own project? Why / why not?

Structure / layout

Has the artwork been organised using a formal arrangement of arrangement or mathematical proportion (i.e. dominion of thirds; gilded ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.eastward. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of system help with the advice of ideas? Tin you draw a diagram to prove the basic structure of the artwork?
Can you see a clear intention with alignment and positioning of parts within the artwork (i.due east. edges aligned; items spaced equally; simple or complex 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 effect exercise these visual devices take (i.e. imply bureaucracy; assist the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork accept a primary axis of symmetry (vertical, diagonal, horizontal)? Can yous 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 draw a diagram to illustrate emphasis and say-so (i.e. 'blocking in' mass, where the 'heavier' dominant forms appear in the limerick)? Where are dominant items located inside the frame?
How practise your eyes move through the composition?
Could your own artwork use a like organisational structure?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; bold; 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 whatsoever interrupted, suggested or implied lines (i.eastward. lines that can't literally be seen, merely the viewer'south brain connects the dots between divide elements)?
Where are the dominating lines in the composition and what is the effect of these? Tin can you overlay tracing paper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate fabric qualities, texture, pattern or rhythm;
- Purlieus lines: may segment, divide or separate dissimilar areas;
- Leading lines: may dispense the viewer'southward gaze, directing vision or lead the eye to focal points (centre tracking studies indicate that our eyes leap from i point of interest to another, rather than move smoothly or predictably along leading lines⁹. Lines may nevertheless aid to plant emphasis by '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 propose elevation, reaching upward or falling;
- Intersecting perpendicular lines: may suggest rigidity, force;
- Abstract lines: may balance the composition, create dissimilarity or emphasis;
- Athwart / 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 (learn more about profile lines in our article about line drawing);
- Curving / organic lines: may propose nature, peace, motion or energy.
What is the relationship between line and three-dimensional grade? Areoutlines used to define grade and edges?
Would information technology exist advisable to utilise line in a similar way within your own artwork?

Shape and grade

Can you place a dominant visual language inside the shapes and forms shown (i.e. geometric; athwart; rectilinear; curvilinear; organic; natural; fragmented; distorted; gratuitous-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
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, practice they 'dissolve into sketchy lines, paint strokes or drips')?
Are there any three-dimensional forms or relief elements within the artwork, such every bit carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from different angles?
Is there a variety or repetition of shapes/forms? What upshot does this have (i.e. repetition may reinforce ideas, residuum limerick and/or create harmony / visual unity; multifariousness may create visual interest 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 calibration 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 outset tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism^ix

Are forms designed with ergonomics and human scale in mind?

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

Can you identify which forms are functional or structural, versus ornamental or decorative?
Take 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 data; dramatic upshot)?
Would it be appropriate to use shape and form in a similar manner inside your own artwork?

Value / tone / light

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; stiff highlights and shadows, with little mid-tone values)? What is the consequence 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; calorie-free bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting conditions at a certain time of day or night; figures lit from the side to clarify class; contrasting groundwork or spot-lighting used to accentuate a focal expanse; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to indicate sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to raise our understanding of narrative, mood or meaning)?

Ane of the most important means in which artists tin can utilise calorie-free to achieve particular furnishings is in making strong contrasts between lite and dark. This contrast is often described as chiaroscuro. – Matthew Treherne, Analysing Paintings, Academy of Leeds³

Are representations of 3-dimensional objects and figures flat or tonally modeled? How practice unlike tonal values change from one to the adjacent (i.e. gentle, polish gradations; precipitous tonal bands)?
Are at that place whatsoever unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special style?
Has tone been used to aid communicate atmospheric perspective (i.e. paler and bluer as objects get farther away)?
Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this impact 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)?
Practise sculptural protrusions or relief elements grab the light 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'due south attending to focal areas?
Would it be appropriate to use value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Can you view the truthful color of the artwork (i.e. are you lot viewing a depression-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes take been used within the artwork (i.due east. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a wide or limited color palette (i.e. variety or unity)? Which colors boss?
How would y'all describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you lot come across reflected color?
Has color dissimilarity been used within the artwork (i.east. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?
What is the upshot 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 aeriform perspective; relationships with colors in surrounding environment; creating residue; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, particular and grade)? What kind of atmosphere exercise these colors create?

Information technology is oft said that warm colors (ruby, orangish, yellow) come forward and produce a sense of excitement (yellow is said to advise warmth and happiness, as in the smiley confront), whereas absurd colors (blue, green) recede and have a calming consequence. Experiments, however, have proved inconclusive; the response to colour – despite clichés virtually seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing Well-nigh Fine art²

Would it be appropriate to use colour in a similar 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; rough; polish; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.eastward. 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 leaf or minor stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this accept (i.east. 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; balance betwixt detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys data about a subject, i.e. softness of fur or strands of hair)?
Would it be appropriate to use 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-footing, background; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective – larn more about i indicate perspective hither; tonal modeling; relationships with adjacent objects and those in shut proximity – including the human form – 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.east. worm'south view; aeriform 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 upshot of this viewpoint (i.e. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more information virtually a infinite than would normally be seen)?
Is the emphasis upon mass or void? How densely arranged are components inside the artwork or picture plane? What is the relationship between object and surrounding space (i.eastward. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects clustered to create areas of visual involvement)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business / visual ataxia creates a feeling of chaos or claustrophobia)?
How does the artwork appoint with real infinite – in and around the artwork (i.e. self-contained; airtight off; heart contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the human relationship between interior and exterior infinite? What connections or contrasts occur between inside and out? Is information technology comprised of a series of separate or linked spaces?
Would it be appropriate to utilize space in a like style within your ain artwork?

Employ of media / materials

What materials and mediums has the artwork been constructed from? Take materials been concealed or presented deceptively (i.eastward. is there an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; force; flexibility; pliability; fragility; ease of utilize; cost; cultural significance; immovability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.eastward. traditional; conventional; industrial; gimmicky; innovative)? Information technology is important to note that the examiners practice non want the regurgitation of long, technical processes, but rather to see personal observations nearly how processes effect and influence the artwork in question. Would replicating part of the artwork assistance you gain a better understanding 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 > last details;
- Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > press.
How does the utilise of media help the artist to communicate ideas?
Are these methods useful for your ain project?

Finally, remember that these questions are a guide only and are intended to brand you commencement to think critically about the fine art you are studying and creating.