How to analyze an artwork: a step-by-step guide for students

Last Updated on May 27, 2021

This article has been written for loftier school art students who are working upon a critical report of art, sketchbook annotation or an essay-based artist written report. It contains a list of questions to guide students through the procedure of analyzing visual material of any kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, compages, photography, textiles, style and so on (the word 'artwork' in this article is all-encompassing). The questions include a broad range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from art analysis textbooks as well as from loftier schoolhouse art teachers who accept first-paw experience instruction these concepts to students.

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

Why practice we report fine art?

Almost all high school art students carry out disquisitional analysis of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to understand compositional devices and and then explore these in their own art. This is one of the best ways for students to learn.

Instructors who assign formal analyses desire you to look—and look carefully. Recollect of the object as a series of decisions that an artist made. Your job is to figure out and draw, explicate, and interpret those decisions and why the artist may have made them. – The Writing Center, University of North Carolina at Chapel Hill¹⁰

Art analysis tips

'I like this' or 'I don't similar this' without whatever further explanation or justification is not analysis. Personal opinions must be supported with caption, show or justification.
'Assay of artwork' does not mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate college order thinking – the ability to analyse, evaluate and synthesize data 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 most why this is the example – perhaps a deliberate endeavor by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although clarification is an important part of a formal assay, clarification is not plenty on its own. You must innovate and contextualize your descriptions of the formal elements of the work so the reader understands how each element influences the work's overall result on the viewer. – Sylvan Barnet, A Short Guide to Writing About Art²

Cover a range of different visual elements and pattern principles. Information technology is common for students to become experts at writing about one or ii elements of composition, 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 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 significant, where required. The questions below are designed to ensure that students cover a broad range of relevant topics within their assay.
Write alongside the artwork discussed. In almost all cases, written assay should be presented alongside 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. Information technology is virtually always helpful for loftier school students to back up written material with sketches, drawings and diagrams that help the student empathise 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 and and so on. Visual investigation of this sort plays an important function in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-one-time way that artists have learned from each other. In doing this, you will appoint with a work and an artist'south approach even if you lot previously knew nix about it. If possible do this whenever you lot can, non from a postcard, the net or a picture in a book, but from the actual work itself. This is useful because it forces you to look closely at the work and to consider elements you lot might not accept noticed before. – Susie Hodge, How to Expect at Fine art^vii

Finally, when writing near art, students should communicate with clarity; demonstrate discipline-specific knowledge; use correct 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 attribute of limerick is treated separately in the questions beneath, students should consider the human relationship between visual elements (line, shape, course, value/tone, colour/hue, texture/surface, infinite) and how these interact to form blueprint principles (such every bit unity, diverseness, emphasis, say-so, balance, symmetry, harmony, movement, contrast, rhythm, blueprint, scale, proportion) to communicate meaning.

As circuitous as works of art typically are, there are actually but 3 general categories of statements one can make nigh 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 Columbia^v

…a formal analysis – the outcome of looking closely – is an assay of the form that the artist produces; that is, an analysis of the piece of work of fine art, which is made up of such things every bit line, shape, color, texture, mass, composition. These things give the stone or sail its form, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art²

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an fantabulous instance 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 analysis, which is also required by many high school fine art exam boards, in addition to the formal analysis illustrated here):

Composition assay: a list of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a latitude and depth of agreement of the artwork studied. They are intended to prompt higher order thinking and to help students arrive at well-reasoned analysis.

It is not expected that students answer every question (doing and so 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 advisable for analyzing a painting, but not a sculpture). The words provided equally examples are intended to assistance students think about appropriate vocabulary to use when discussing a particular topic. Definitions of more complex words have been provided.

Students should not attempt to copy out questions and then reply them; rather the questions should exist 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 well-nigh limerick. For more than details, delight refer to the bibliography below.

CONTENT, CONTEXT AND Pregnant

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

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

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

Does the artwork autumn within an established genre (i.e. historical; mythical; religious; portraiture; landscape; notwithstanding life; fantasy; architectural)?
Are there any recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; subconscious; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?
Have people been included? What can nosotros tell most them (i.eastward. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can nosotros larn from their pose (i.e. frontal; profile; partly turned; body language)? Where are they looking (i.due east. direct eye contact with viewer; downcast; interested in other subjects inside the artwork)? Tin can we piece of work out relationships betwixt figures from the way they are posed?

What practice the clothing, effects, accessories (horses, swords, dogs, clocks, business ledgers and then along), background, angle of the caput or posture of the caput and trunk, direction of the gaze, and facial expression contribute to our sense of the figure'south social identity (monarch, clergyman, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing Nigh Artⁱⁱ

What props and important details are included (drapery; costumes; beautification; architectural elements; emblems; logos; motifs)? How do aspects of setting back up the chief field of study? What is the effect of including these items within the arrangement (visual unity; connections between unlike parts of the artwork; directs attention; surprise; variety and visual involvement; 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 ice cream on the same plate, your surprise might exist caused by the juxtaposition, or the side-by-side contrast, of the two foods. – Vocabulary.com

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

Does the artwork communicate an action, narrative or story (i.east. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set up up or contrived?
Does the artwork explore movement? Do you lot proceeds a sense that parts of the artwork are about to alter, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live operation art; video art; kinetic art)?
What kind of abstract elements are shown (i.e. confined; shapes; splashes; lines)? Have these been derived from or inspired past realistic forms? Are they the result of spontaneous, adventitious cosmos or careful, deliberate arrangement?
Does the work include the appropriation of work past other artists, such every bit 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, simply with a twist for comic issue or critical comment, equally in Sat Nighttime Live'south political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The Academy of British Columbia^v

Does the subject field captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human faces; the gaze of people; motility; text)? Heap map tracking has demonstrated that these elements grab 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-fatigued; calculator-generated; printed)? What has influenced this choice of text?
Practise central objects or images have symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

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

An iconography is a item range or arrangement of types of prototype used past an artist or artists to convey item meanings. For case 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 voice does the artwork have (i.eastward. deliberate; honest; autobiographical; obvious; straight; unflinching; confronting; subtle; cryptic; 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; at-home; turbulent)? Which subject thing choices help to communicate this mood (i.e. conditions and lighting conditions; color of objects and scenes)?
Does the title alter the mode you translate the piece of work?
Were there whatever pattern constraints relating to the subject affair or theme/s (i.e. a sculpture deputed to represent a specific subject field, place or thought)?
Are there thematic connections with your own project? What tin you lot acquire from the way the creative person has approached this subject?

Wider contexts

All art is in part about the world in which information technology emerged. – Terry Barrett, Criticizing Art: Understanding the Gimmicky⁶

Supported by inquiry, tin can you lot 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; individual viewing; public viewing)? In what manner has this background influenced the issue (i.eastward. availability of tools, materials or time; expectations of the patron / audience)?
Where is the place of construction or design site and how does this influence the artwork (i.east. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to conform weather conditions / climate; built on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments accept influenced this work (i.e. natural events; social movements such every bit feminism; political events, economic situations, historic events, religious settings, cultural events)? What effect did these take?
Is the work characteristic of an artistic style, movement or time period? Has it been influenced by trends, fashions or ideologies? How can yous tell?
Can you make any relevant connections or comparisons with other artworks? Have other artists explored a like subject in a like fashion? Did this occur earlier or after this artwork was created?
Can y'all brand whatever relevant connections to other fields of written report or expression (i.east. geography, mathematics, literature, film, music, history or science)?
Which fundamental biographical details about the artist are relevant in understanding this artwork (upbringing and personal state of affairs; family unit and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; instruction, organized religion; interests, attitudes, values and beliefs)?
Is this artwork role of a larger torso of work? Is this typical of the work the artist is known for?
How might your ain 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 piece of work?

Limerick AND Class

Format

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or foursquare)? Has this format been influenced by applied considerations (i.e. availability of materials; display constraints; design brief restrictions; screen sizes; mutual aspect ratios in film or photography such as 4:3 or 2:3; 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 matter?
Are dissimilar parts of the artwork physically carve up, such as inside a diptych or triptych?
Where are the boundaries of the artwork (i.due east. is the artwork self-independent; meaty; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork accept a fixed, permanent format, or was itmodified, moved or adapted over time? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, air current movement, surface chafe; structural failure – groovy, breaking; harm caused by unpredictable events, such as fire or vandalism; intentional motion, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed subsequently; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive information technology takes years to construct)? How does this alter 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 adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to exist viewed from ane vantage point (i.e. front facing; viewed from below; approached from a main archway; set at man middle level) or many? Are images taken from the all-time angle?
Would a similar format do good your ain project? Why / why not?

Construction / layout

Has the artwork been organised using a formal organization of arrangement or mathematical proportion (i.e. dominion of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the organization less anticipated (i.e. cluttered, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of organisation assist with the advice of ideas? Tin can yous describe a diagram to evidence the basic structure of the artwork?
Tin can yous see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced every bit; simple or complex organization; overlapping, clustered or full-bodied objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect do these visual devices have (i.eastward. imply bureaucracy; assist the viewer empathise relationships between parts of artwork; create rhythm)?
Does the artwork have a chief centrality of symmetry (vertical, diagonal, horizontal)? Tin can yous locate a center of balance? Is the artwork symmetrical, asymmetrical (i.east. stable), radial, or intentionally unbalanced (i.east. to create tension or unease)?
Tin can you depict a diagram to illustrate emphasis and dominance (i.due east. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are dominant items located within the frame?
How practise your eyes movement through the limerick?
Could your ain artwork employ a similar organisational structure?

Line

What types of linear marking-making are shown (thick; sparse; brusque; long; soft; bold; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; abrupt)? What atmosphere, moods, emotions or ideas do these evoke?
Are there whatsoever interrupted, suggested or implied lines (i.e. lines that can't literally exist seen, but the viewer's encephalon connects the dots between divide elements)?
Where are the dominating lines in the composition and what is the consequence of these? Tin you overlay tracing paper upon an artwork to illustrate some of the of import lines?
- Repeating lines: may simulate material qualities, texture, pattern or rhythm;
- Purlieus lines: may segment, separate or separate different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or lead the eye to focal points (eye tracking studies indicate that our eyes spring from one point of interest to some other, rather than move smoothly or predictably along leading lines⁹. Lines may nonetheless aid to establish emphasis past 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or motion through space within a mural;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest tiptop, reaching upward or falling;
- Intersecting perpendicular lines: may suggest rigidity, strength;
- Abstract lines: may balance the composition, create contrast or emphasis;
- Athwart / diagonal lines: may suggest tension or unease;
- Cluttered lines: may suggest a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: describe grade (learn more than almost contour lines in our article about line cartoon);
- Curving / organic lines: may advise nature, peace, motility or energy.
What is the relationship between line and three-dimensional form? Areoutlines used to define grade and edges?
Would it be appropriate to use line in a similar style within your ain artwork?

Shape and form

Can you place a ascendant visual linguistic communication within the shapes and forms shown (i.east. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; complimentary-flowing; varied; irregular; complex; minimal)? Why is this visual language advisable?
How are the edges of forms treated (i.east. do they fade away or blur at the edges, as if melting into the page; 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 whatsoever three-dimensional forms or relief elements inside the artwork, such as carved pieces, protruding or sculptural elements? How does this impact the viewing of the work from different angles?
Is at that place a variety or repetition of shapes/forms? What outcome does this have (i.e. repetition may reinforce ideas, remainder composition and/or create harmony / visual unity; multifariousness 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 accept silhouettes, and vision inquiry has shown that one of the first tasks of perception is to exist able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism⁹

Are forms designed with ergonomics and human scale in mind?

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

Tin you identify which forms are functional or structural, versus ornamental or decorative?
Have whatsoever forms been disassembled, 'cut abroad' or exposed, such as a sectional drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic effect)?
Would it be appropriate to utilize shape and class in a like manner within your own artwork?

Value / tone / lite

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.e. pale and faint; subdued; tiresome; brooding and dark overall; strong highlights and shadows, with piddling mid-tone values)? What is the effect of this?
Where are the light sources within the artwork or scene? Is there a unmarried consequent light source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the event of these choices (i.eastward. mimics natural lighting conditions at a certain time of day or night; figures lit from the side to clarify class; contrasting background or spot-lighting used to accentuate a focal surface 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 complexity; to heighten our agreement of narrative, mood or meaning)?

One of the most of import ways in which artists can use light to reach particular furnishings is in making strong contrasts between light and dark. This contrast is often described as chiaroscuro. – Matthew Treherne, Analysing Paintings, Academy of Leeds³

Are representations of three-dimensional objects and figures flat or tonally modeled? How do different tonal values modify from ane to the side by side (i.east. gentle, smooth gradations; abrupt tonal bands)?
Are in that location any 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.e. paler and bluer as objects get further away)?
Are gallery or environmental lite sources where the artwork is displayed fixed or fluctuating? Does the piece of work appear different when viewed at different times of twenty-four hour period? How does this affect your interpretation 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 lite 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 help direct the viewer'southward attention to focal areas?
Would information technology be advisable to employ value / tone in a similar manner within your own artwork? Why / why not?

Colour / hue

Tin 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 take been used within the artwork (i.east. harmonious; complementary; master; monochrome; earthy; warm; cool/common cold)? Has the artist used a broad or express colour palette (i.due east. diverseness or unity)? Which colors dominate?
How would yous describe the intensity of the colors (vibrant; bright; bright; glowing; pure; saturated; stiff; slow; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can y'all run into reflected color?
Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are in that location any precipitous color changes or unexpected uses of colour?
What is the outcome of these color choices (i.eastward. 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 rest; creating rhythm/pattern/repetition; unity and diversity inside the artwork; lack of color places accent upon shape, item and form)? What kind of atmosphere practise these colors create?

It is often said that warm colors (red, orangish, yellow) come forward and produce a sense of excitement (yellowish is said to propose warmth and happiness, as in the smiley confront), whereas cool colors (blue, green) 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 Short Guide to Writing About Art²

Would it be appropriate to utilise colour in a like fashion within your own artwork?

Texture / surface / pattern

Are there whatsoever interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; smooth; 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 unsaid texture, such as cross-hatching; finely detailed and intricate areas; organic patterns such as leafage or small stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what effect does this take (i.e. used intermittently to provide variety; repeating blueprint creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; rest between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; fake of texture conveys information nigh a subject field, i.due east. softness of fur or strands of hair)?
Would information technology be appropriate to use texture / surface in a like 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, heart-ground, groundwork; overlapping of objects; utilise of shadows to ballast objects; positioning of items in relationship to the horizon line; linear perspective – acquire more nigh one point perspective here; tonal modeling; relationships with adjacent objects and those in close 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 truthful scale is unknown)?
Has an unusual viewpoint been used (i.eastward. worm'south 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 outcome of this viewpoint (i.eastward. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative betwixt two dissever spaces; provides more information near a space than would normally be seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or moving picture plane? What is the human relationship between object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative infinite; objects clustered to create areas of visual interest)? What is the effect of this (i.east. creates a sense of emptiness or isolation; business concern / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with real infinite – in and around the artwork (i.e. self-independent; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the human relationship betwixt 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 advisable to use infinite in a like mode inside your own artwork?

Utilize of media / materials

What materials and mediums has the artwork been synthetic from? Have materials been concealed or presented deceptively (i.east. is in that location 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 use; toll; cultural significance; immovability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.east. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners exercise not desire the regurgitation of long, technical processes, but rather to see personal observations nigh how processes effect and influence the artwork in question. Would replicating part of the artwork assist you gain a better understanding of the processes used?
Has the artwork been built in layers or stages? For example:
- Painting: gesso basis > textured mediums > underdrawing > blocking in colors > defining form > final details;
- Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > printing.
How does the utilise of media help the artist to communicate ideas?
Are these methods useful for your own project?

Finally, remember that these questions are a guide merely and are intended to make y'all starting time to think critically near the art you are studying and creating.