Using Computer Program Direct Compare Subject and Painting for Tone Value and Color Art

Last Updated on May 27, 2021

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

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

Why exercise we study fine art?

Virtually all high schoolhouse art students conduct out critical analysis of artist work, in conjunction with creating practical piece of work. Looking critically at the work of others allows students to sympathise compositional devices then explore these in their own fine art. This is one of the all-time means for students to learn.

Instructors who assign formal analyses desire you to look—and look carefully. Recall of the object as a series of decisions that an artist made. Your chore is to figure out and describe, explain, and translate those decisions and why the creative person may take made them. – The Writing Center, University of Due north Carolina at Chapel Hill¹⁰

Fine art analysis tips

'I like this' or 'I don't like this' without any farther explanation or justification is non analysis. Personal opinions must be supported with explanation, evidence or justification.
'Analysis of artwork' does not hateful 'clarification of artwork'. To gain high marks, students must movement beyond stating the obvious and add together perceptive, personal insight. Students should demonstrate higher order thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case – perhaps a deliberate endeavor past the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important role of a formal analysis, description is non plenty on its own. You must introduce and contextualize your descriptions of the formal elements of the work and then the reader understands how each element influences the piece of work's overall result on the viewer. – Sylvan Barnet, A Short Guide to Writing Virtually Art^two

Cover a range of different visual elements and pattern principles. It is common for students to go experts at writing about one or two elements of composition, while neglecting everything else – for example, only 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 design principles, likewise as address context and pregnant, where required. The questions beneath are designed to ensure that students comprehend a wide range of relevant topics within their analysis.
Write aslope the artwork discussed. In almost all cases, written analysis should be presented alongside the piece of 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 assay. It is nearly e'er helpful for high school students to back up written fabric with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the master structure of an artwork; detailed enlargements of minor sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines then on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-one-time way that artists have learned from each other. In doing this, you volition engage with a work and an artist'due south approach even if you previously knew nothing about information technology. If possible do this whenever you tin can, not from a postcard, the internet or a picture in a book, but from the actual work itself. This is useful because information technology forces you to look closely at the work and to consider elements you might not have noticed earlier. – Susie Hodge, How to Look at Art⁷

Finally, when writing about 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 detail in our article nigh high school sketchbooks.

What should students write about?

Although each attribute of composition is treated separately in the questions beneath, students should consider the relationship betwixt visual elements (line, shape, course, value/tone, color/hue, texture/surface, space) and how these interact to course design principles (such as unity, variety, accent, dominance, balance, symmetry, harmony, movement, dissimilarity, rhythm, blueprint, calibration, proportion) to communicate pregnant.

As complex equally works of art typically are, at that place are actually only three full general categories of statements ane can make most them. A argument addresses form, content or context (or their diverse interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal assay – the result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture, mass, composition. These things requite the stone or sheet its form, its expression, its content, its significant. – Sylvan Barnet, A Brusk Guide to Writing About Fine art²

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a slice of art (it is important to note that this video is an instance of 'formal assay' and doesn't include contextual analysis, which is besides required by many high school art examination boards, in addition to the formal assay 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 order thinking and to help students arrive at well-reasoned analysis.

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

Students should non attempt to copy out questions then respond them; rather the questions should be considered a starting point for writing bullet pointed annotation or sentences in paragraph form.

How to write art analysis — A minor sample of the books that informed this commodity. Some of these were written for art history students learning how to write an fine art analysis; others provide information near composition. For more details, delight refer to the bibliography beneath.

CONTENT, CONTEXT AND MEANING

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 Art: Understanding the Contemporary⁶

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

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; mural; notwithstanding life; fantasy; architectural)?
Are at that place whatsoever recognisable objects, places or scenes? How are these presented (i.eastward. arcadian; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist grade; archaic; abstracted; concealed; suggested; blurred or focused)?
Take people been included? What tin can we tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What tin can we learn from their pose (i.e. frontal; contour; partly turned; trunk language)? Where are they looking (i.east. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships betwixt figures from the way they are posed?

What exercise the habiliment, furnishings, accessories (horses, swords, dogs, clocks, business organization ledgers then along), background, angle of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure's social identity (monarch, clergyman, bays married woman) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing About Fine art²

What props and of import details are included (pall; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary discipline? What is the effect of including these items within the arrangement (visual unity; connections betwixt different parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from ane object to another; unexpected juxtaposition)?

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

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

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, gear up or contrived?
Does the artwork explore movement? Practice you lot proceeds 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.e. multiple or sequential images; blurred edges; scene frozen mid-activeness; live functioning art; video fine art; kinetic art)?
What kind of abstruse elements are shown (i.due east. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the effect of spontaneous, accidental creation or careful, deliberate arrangement?
Does the work include the appropriation of work by other artists, such as within a parody or popular art? What result does this take (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 Saturday Night Live'south political satires – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

Does the subject captivate an instinctual response, such equally items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human 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 most this fascinating topic.
What kind of text has been used (i.eastward. font size; font weight; font family; stenciled; paw-drawn; computer-generated; printed)? What has influenced this choice of text?
Practice key objects or images have symbolic value or provide a cue to pregnant? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

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 Art¹¹

An iconography is a particular range or organization of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting at that place is an iconography of images such equally the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.great britain

What tone of vocalisation does the artwork have (i.east. deliberate; honest; autobiographical; obvious; direct; 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; calm; turbulent)? Which bailiwick matter choices help to communicate this mood (i.e. weather and lighting atmospheric condition; color of objects and scenes)?
Does the title change the way you interpret the work?
Were there whatsoever pattern constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to represent a specific subject field, identify or idea)?
Are there thematic connections with your own project? What can yous learn from the fashion the creative person has approached this subject field?

Wider contexts

All fine art is in part about the globe in which information technology emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary⁶

Supported by research, can you place when, where and why the work was created and its original intention or purpose (i.east. individual sale; deputed for a specific owner; 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 place of construction or design site and how does this influence the artwork (i.eastward. reflects local traditions, craftsmanship, or community; complements surrounding designs; designed to conform conditions conditions / climate; built on celebrated site)? Was the artwork originally located somewhere unlike?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, celebrated events, religious settings, cultural events)? What consequence did these have?
Is the piece of work characteristic of an creative style, motility or time menstruation? Has information technology been influenced by trends, fashions or ideologies? How can you tell?
Tin can y'all make any relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a similar style? Did this occur before or later on this artwork was created?
Can yous make any relevant connections to other fields of study or expression (i.due east. geography, mathematics, literature, pic, music, history or science)?
Which key biographical details near the creative person are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological land; health and fitness; socioeconomic condition; employment; ethnicity; culture; gender; teaching, religion; interests, attitudes, values and behavior)?
Is this artwork part of a larger body of work? Is this typical of the piece of work the artist is known for?
How might your own upbringing, behavior and biases misconstrue your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/orinterpretation past critics?
How do these wider contexts compare to the contexts surrounding your own work?

Composition AND Class

Format

What is the overall size, shape and orientation of the artwork (i.east. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.e. availability of materials; display constraints; design brief restrictions; screen sizes; common aspect ratios in film or photography such equally 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?
How practice images fit within the frame (cropped; truncated; shown in full)? Why is this format advisable for the subject field matter?
Are different parts of the artwork physically separate, such equally inside a diptych or triptych?
Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to exist displayed across multiple locations or environments?
Does the artwork accept a fixed, permanent format, or was information technologymodified, moved or adjusted over time? What causes such changes (i.eastward. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind motility, surface chafe; structural failure – cracking, breaking; damage acquired by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such equally an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration past subsequent artists or users; a project then expansive it takes years to construct)? How does this change affect the artwork? Are at that place 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 be viewed from one vantage point (i.e. front end facing; viewed from below; approached from a primary archway; set up at human middle level) or many? Are images taken from the best angle?
Would a similar format do good your ain project? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or round limerick) or is the system less predictable (i.e. chaotic, random, adventitious, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Can you describe a diagram to show the basic structure of the artwork?
Tin can you encounter a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced as; 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 consequence do these visual devices take (i.e. imply hierarchy; help the viewer sympathise relationships between parts of artwork; create rhythm)?
Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can y'all locate a middle of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.eastward. to create tension or unease)?
Tin can you draw a diagram to illustrate accent and dominance (i.eastward. 'blocking in' mass, where the 'heavier' ascendant forms announced in the composition)? Where are dominant items located within the frame?
How exercise your eyes motion 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; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cantankerous-hatching; meandering; gestural, fluid; flowing; jagged; spiky; abrupt)? What atmosphere, moods, emotions or ideas practice these evoke?
Are there any interrupted, suggested or implied lines (i.e. lines that can't literally be seen, but the viewer's brain connects the dots between separate elements)?
Where are the dominating lines in the limerick and what is the effect of these? Can you overlay tracing paper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate material qualities, texture, blueprint or rhythm;
- Boundary lines: may segment, divide or separate dissimilar areas;
- Leading lines: may manipulate the viewer'south gaze, directing vision or lead the eye to focal points (heart tracking studies signal that our optics jump from one betoken of involvement to another, rather than motility smoothly or predictably along leading lines^nine. Lines may nonetheless help to establish accent by 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or movement through infinite within a mural;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest peak, reaching upwards or falling;
- Intersecting perpendicular lines: may propose rigidity, strength;
- Abstract lines: may residue the limerick, create contrast or accent;
- Athwart / diagonal lines: may suggest tension or unease;
- Cluttered lines: may propose a sense of agitation or panic;
- Underdrawing, structure lines or contour lines: describe form (learn more about contour lines in our article about line drawing);
- Curving / organic lines: may suggest nature, peace, move or energy.
What is the relationship between line and three-dimensional course? Areoutlines used to define form and edges?
Would it be appropriate to use line in a similar manner within your own artwork?

Shape and form

Can yous identify a dominant visual language within the shapes and forms shown (i.e. geometric; athwart; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
How are the edges of forms treated (i.e. 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 Gurney^nine, practice they 'dissolve into sketchy lines, paint strokes or drips')?
Are at that place whatever iii-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this bear on the viewing of the work from different angles?
Is at that place a diversity or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?
How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in calibration or size; distracting or bad-mannered 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 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 calibration in mind?

Ergonomics: an engineering science concerned with designing and arranging things people utilize so that the people and things interact about efficiently and safely – Merriam-webster.com

Can you place which forms are functional or structural, versus ornamental or decorative?
Have whatever forms been disassembled, 'cut away' or exposed, such as a sectional drawing? What is the purpose of this (i.eastward. to explain construction methods; communicate information; dramatic effect)?
Would information technology be appropriate to use shape and form in a like way within your ain 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; dull; brooding and dark overall; strong highlights and shadows, with trivial mid-tone values)? What is the consequence of this?
Where are the light sources within the artwork or scene? Is in that location a single consequent light source or multiple sources of light (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 dark; figures lit from the side to clarify form; 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 point sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our agreement of narrative, mood or meaning)?

1 of the near important ways in which artists can apply light to achieve particular effects is in making strong contrasts between low-cal and dark. This contrast is ofttimes described as chiaroscuro. – Matthew Treherne, Analysing Paintings, Academy of Leedsⁱⁱⁱ

Are representations of three-dimensional objects and figures flat or tonally modeled? How practise different tonal values change from i to the side by side (i.east. gentle, smooth gradations; precipitous tonal bands)?
Are at that place any unusual, cogitating or transparent surfaces, mediums or materials which reflect or transmit light in a special way?
Has tone been used to aid communicate atmospheric perspective (i.e. paler and bluer as objects get further away)?
Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your interpretation of the work?
Are shadows depicted within the artwork? What is the upshot of these shadows (i.e. anchors objects to the folio; 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'southward feel?
How has tone been used to assist straight the viewer'south attending to focal areas?
Would it exist appropriate to employ value / tone in a similar mode inside your ain artwork? Why / why non?

Colour / hue

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

It is ofttimes said that warm colors (red, orange, yellow) come forward and produce a sense of excitement (yellow is said to advise warmth and happiness, as in the smiley face up), whereas cool colors (blueish, green) recede and take a calming effect. Experiments, however, have proved inconclusive; the response to colour – despite clichés near seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing Near Art²

Would it be appropriate to employ color in a similar way within your own artwork?

Texture / surface / pattern

Are at that place any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; crude; smooth; shiny; varnished; glassy; sleeky; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.due east. inherent qualities of materials; impasto mediums; sculptural materials; illusions or unsaid texture, such every bit cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns; ornamentation)?
How are textural or patterned elements positioned and what event does this accept (i.eastward. used intermittently to provide variety; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity betwixt carve up areas of the artwork; remainder between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information about a subject area, i.e. softness of fur or strands of pilus)?
Would it be advisable to employ texture / surface in a similar way within your ain artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, eye-basis, background; overlapping of objects; use of shadows to ballast objects; positioning of items in relationship to the horizon line; linear perspective – learn more well-nigh one point perspective here; 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.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 consequence of this viewpoint (i.east. allows certain parts of the scene to exist dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between ii separate spaces; provides more information about a space than would normally be seen)?
Is the accent upon mass or void? How densely arranged are components within the artwork or picture show plane? What is the relationship betwixt object and surrounding space (i.e. meaty / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects amassed to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business concern / visual ataxia creates a feeling of chaos or claustrophobia)?
How does the artwork appoint with real space – in and around the artwork (i.e. self-contained; closed off; centre contact with viewer; reaching outwards)? Is the viewer expected to movement through the artwork? What is the relationship between interior and exterior infinite? What connections or contrasts occur between within and out? Is information technology comprised of a series of separate or linked spaces?
Would it be appropriate to apply space in a similar way inside your own artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Have materials been concealed or presented deceptively (i.east. is in that location an authenticity / honesty of materials; are materials celebrated; is the construction visible or exposed)? Why were these mediums selected (weight; color; texture; size; forcefulness; flexibility; pliability; fragility; ease of utilize; cost; 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)? It is important to annotation that the examiners do non want the regurgitation of long, technical processes, but rather to see personal observations about how processes outcome and influence the artwork in question. Would replicating part of the artwork assist you lot gain a better understanding of the processes used?
Has the artwork been built in layers or stages? For example:
- Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining course > concluding details;
- Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic design: cursory > concepts > development > Photoshop > proofing > printing.
How does the use of media assist the artist to communicate ideas?
Are these methods useful for your own project?

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