B Asic Information About a Work of Art Basic Information About Critique of Painting

Last Updated on May 27, 2021

This article has been written for high schoolhouse art students who are working upon a critical study of fine art, sketchbook annotation or an essay-based artist study. It contains a listing of questions to guide students through the process of analyzing visual fabric of whatever kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and so on (the word 'artwork' in this commodity is all-encompassing). The questions include a wide range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. Information technology combines advice from art analysis textbooks as well every bit from high schoolhouse art teachers who have get-go-hand experience education 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 function of an A* IGSCE Art and Design sketchbook folio analysing the work of Jim Dine, by Rhea Maheshwari, ACG Parnell College.

Why exercise nosotros study art?

Almost all high schoolhouse fine art students comport out critical analysis of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to empathize compositional devices and and then explore these in their own art. This is 1 of the best means for students to learn.

Instructors who assign formal analyses want you to look—and look advisedly. Think of the object as a series of decisions that an creative person made. Your job is to figure out and describe, explain, and interpret those decisions and why the creative person may have 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 whatsoever farther explanation or justification is not assay. Personal opinions must be supported with caption, evidence or justification.
'Analysis 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 information and ideas. For example, if colour has been used to create potent contrasts in sure areas of an artwork, students might follow this ascertainment with a thoughtful assumption about why this is the case – perchance a deliberate attempt by the artist to describe attending to a focal point, helping to convey thematic ideas.

Although description is an of import function of a formal assay, clarification is not enough on its own. You must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each chemical element influences the work's overall effect on the viewer. – Sylvan Barnet, A Short Guide to Writing About Artⁱⁱ

Cover a range of different visual elements and design principles. It is mutual for students to become experts at writing about one or ii elements of composition, while neglecting everything else – for example, only focusing upon the employ of colour in every artwork studied. This results in a narrow, repetitive and incomplete assay of the artwork. Students should ensure that they cover a broad range of art elements and design principles, besides as accost context and meaning, where required. The questions below are designed to ensure that students encompass a broad range of relevant topics within their assay.
Write aslope the artwork discussed. In most all cases, written analysis should be presented aslope the work discussed, so that information technology is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
Support writing with visual analysis. It is about always helpful for loftier school students to support written material with sketches, drawings and diagrams that help the student empathize and analyse the piece of art. This might include composition sketches; diagrams showing the main structure of an artwork; detailed enlargements of pocket-size sections; experiments imitating employ of media or technique; or illustrations overlaid with arrows showing leading lines so on. Visual investigation of this sort plays an important role in many creative person studies.

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

Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific knowledge; employ correct terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more item in our commodity well-nigh high school sketchbooks.

What should students write nigh?

Although each aspect of composition is treated separately in the questions beneath, students should consider the human relationship between visual elements (line, shape, form, value/tone, colour/hue, texture/surface, space) and how these interact to course design principles (such every bit unity, variety, emphasis, dominance, residual, symmetry, harmony, move, contrast, rhythm, pattern, calibration, proportion) to communicate significant.

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

…a formal assay – the effect of looking closely – is an analysis of the form that the artist produces; that is, an assay of the piece of work of fine art, which is made up of such things as line, shape, color, texture, mass, composition. These things requite the stone or canvas its form, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art^two

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

Limerick analysis: a list of questions

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

Information technology is not expected that students answer every question (doing so would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are most 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 recall most appropriate vocabulary to use when discussing a particular topic. Definitions of more complex words have been provided.

Students should not endeavour to copy out questions and then answer them; rather the questions should be considered a starting point for writing bullet pointed note 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 data virtually limerick. For more than details, please refer to the bibliography below.

CONTENT, CONTEXT AND MEANING

Bailiwick matter / themes / issues / narratives / stories / ideas

There can be different, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily about what the creative person wanted information technology to exist about. – Terry Barrett, Criticizing Art: Agreement the Contemporary⁶

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

Does the artwork fall inside an established genre (i.east. historical; mythical; religious; portraiture; mural; all the same life; fantasy; architectural)?
Are in that location any recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; subconscious; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist grade; primitive; abstracted; concealed; suggested; blurred or focused)?
Have people been included? What tin can we tell most them (i.due east. identity; age; attire; profession; cultural connections; wellness; family relationships; wealth; mood/expression)? What can we learn from their pose (i.e. frontal; profile; partly turned; torso language)? Where are they looking (i.eastward. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the way they are posed?

What do the vesture, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and so forth), background, bending of the head or posture of the head and body, management of the gaze, and facial expression contribute to our sense of the figure'south social identity (monarch, chaplain, trophy wife) and personality (intense, absurd, inviting)? – Sylvan Barnet, A Brusque Guide to Writing Most Art²

What props and important details are included (mantle; costumes; beautification; architectural elements; emblems; logos; motifs)? How practice aspects of setting back up the primary discipline? What is the effect of including these items within the organisation (visual unity; connections between different parts of the artwork; directs attending; surprise; variety and visual interest; separates / divides / borders; transformation from one 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 exist acquired past the juxtaposition, or the side-by-side contrast, of the two foods. – Vocabulary.com

A motif is an element in a composition or blueprint that can be used repeatedly for decorative, structural, or iconographic purposes. A motif tin can be representational or abstract, and it can be endowed with symbolic meaning. Motifs tin be repeated in multiple artworks and often recur throughout the life's work of an individual artist. – John A. Parks, Universal Principles of Fine art¹¹

Does the artwork communicate an activity, narrative or story (i.e. historical result or illustrate a scene from a story)? Has the arrangement been embellished, set upward or contrived?
Does the artwork explore movement? Exercise you gain a sense that parts of the artwork are about to change, topple or autumn (i.eastward. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live functioning art; video art; kinetic art)?
What kind of abstruse elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired past realistic forms? Are they the issue of spontaneous, adventitious creation or conscientious, deliberate organization?
Does the work include the appropriation of work by other artists, such equally within a parody or popular fine art? What issue does this have (i.e. copyright concerns)?

Parody: mimicking the appearance and/or manner of something or someone, but with a twist for comic effect or critical comment, every bit in Sat Night Alive's political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The Academy of British Columbia⁵

Does the subject captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.due east. 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 than almost this fascinating topic.
What kind of text has been used (i.e. font size; font weight; font family; stenciled; paw-fatigued; 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.east. allegory; iconographic elements; signs; metaphor; irony)?

Apologue 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 circuitous meanings. – John A. Parks, Universal Principles of Art^xi

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 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.uk

What tone of vocalisation does the artwork accept (i.e. deliberate; honest; autobiographical; obvious; straight; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
What is your emotional response to the artwork? What is the overall mood (i.due east positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices help to communicate this mood (i.eastward. atmospheric condition and lighting conditions; colour of objects and scenes)?
Does the title change the way you interpret the work?
Were in that location whatever blueprint constraints relating to the subject thing or theme/s (i.eastward. a sculpture deputed to correspond a specific subject, place or idea)?
Are there thematic connections with your own project? What tin can you learn from the way the artist has approached this subject?

Wider contexts

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

Supported by research, tin can yous identify when, where and why the piece of work was created and its original intention or purpose (i.eastward. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; advice; created in response to a design brief; private viewing; public viewing)? In what manner has this groundwork influenced the upshot (i.e. availability of tools, materials or time; expectations of the patron / audition)?
Where is the place of construction or blueprint 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; built on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments accept 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 effect did these accept?
Is the work feature of an artistic style, movement or fourth dimension period? Has it been influenced past trends, fashions or ideologies? How can y'all tell?
Can y'all brand whatsoever relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a like mode? Did this occur earlier or after this artwork was created?
Tin you lot make whatsoever relevant connections to other fields of written report or expression (i.e. geography, mathematics, literature, film, music, history or science)?
Which cardinal biographical details about the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; wellness and fitness; socioeconomic status; employment; ethnicity; culture; gender; education, faith; interests, attitudes, values and beliefs)?
Is this artwork role of a larger trunk of work? Is this typical of the piece of work the creative person is known for?
How might your own upbringing, beliefs and biases misconstrue your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/orinterpretation by critics?
How exercise 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.e. vertical, horizontal, portrait, landscape or foursquare)? Has this format been influenced by applied considerations (i.e. availability of materials; display constraints; design cursory restrictions; screen sizes; common aspect ratios in moving-picture show or photography such as 4:3 or 2:3; or newspaper sizes such as A4, A3, A2, A1)?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format advisable for the subject matter?
Are different parts of the artwork physically separate, such equally inside a diptych or triptych?
Where are the boundaries of the artwork (i.east. is the artwork self-contained; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to exist displayed across multiple locations or environments?
Does the artwork have a stock-still, permanent format, or was information technologymodified, moved or adjusted over time? What causes such changes (i.e. atmospheric condition and exposure to the elements – melting, erosion, discoloration, decaying, current of air movement, surface abrasion; structural failure – cracking, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional motility, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed later; viewer interaction; additions, renovations and restoration past subsequent artists or users; a project so expansive information technology takes years to construct)? How does this change bear upon the artwork? Are at that place stylistic variances between parts?
How does the scale and format of the artwork relate to the surround where it is positioned, used, installed or hung (i.due east. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from i vantage betoken (i.eastward. front facing; viewed from below; approached from a main entrance; set at human eye level) or many? Are images taken from the best angle?
Would a like format benefit your own project? Why / why not?

Construction / layout

Has the artwork been organised using a formal organization of arrangement or mathematical proportion (i.due east. rule of thirds; golden ratio or spiral; grid format; geometric; ascendant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, adventitious, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement assist with the communication of ideas? Can you lot depict a diagram to testify the basic structure of the artwork?
Tin you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced equally; simple or complex arrangement; overlapping, amassed or concentrated objects; dispersed, dissever items; repetition of forms; items extending across the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect exercise these visual devices take (i.east. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?
Does the artwork have a primary centrality of symmetry (vertical, diagonal, horizontal)? Can you locate a heart of balance? Is the artwork symmetrical, asymmetrical (i.eastward. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Tin you draw a diagram to illustrate accent and potency (i.e. 'blocking in' mass, where the 'heavier' dominant forms appear in the composition)? Where are dominant items located within the frame?
How do your optics move through the limerick?
Could your ain artwork use a similar organisational structure?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; bold; fragile; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; abrupt)? What atmosphere, moods, emotions or ideas do these evoke?
Are there any interrupted, suggested or unsaid lines (i.e. lines that tin can't literally be seen, but the viewer'south brain connects the dots betwixt split elements)?
Where are the dominating lines in the composition and what is the event of these? Tin y'all overlay tracing newspaper upon an artwork to illustrate some of the of import lines?
- Repeating lines: may simulate cloth qualities, texture, pattern or rhythm;
- Purlieus lines: may segment, divide or separate different areas;
- Leading lines: may dispense the viewer's gaze, directing vision or lead the eye to focal points (heart tracking studies indicate that our optics leap from i point of involvement to another, rather than move smoothly or predictably forth leading lines⁹. Lines may nevertheless help to plant accent past 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or movement through space within a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may advise elevation, reaching upwards or falling;
- Intersecting perpendicular lines: may suggest rigidity, strength;
- Abstract lines: may residuum the limerick, create contrast or emphasis;
- Angular / diagonal lines: may suggest tension or unease;
- Chaotic lines: may suggest a sense of agitation or panic;
- Underdrawing, construction lines or profile lines: describe form (learn more about contour lines in our article about line drawing);
- Curving / organic lines: may advise nature, peace, movement or energy.
What is the human relationship between line and three-dimensional form? Areoutlines used to define form and edges?
Would it be appropriate to use line in a similar way within your own artwork?

Shape and form

Can you identify a dominant visual language inside the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual 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 Gurney^nine, practice they 'deliquesce into sketchy lines, paint strokes or drips')?
Are there any iii-dimensional forms or relief elements inside the artwork, such as carved pieces, protruding or sculptural elements? How does this bear upon the viewing of the piece of work from unlike angles?
Is there a multifariousness or repetition of shapes/forms? What effect does this take (i.due east. repetition may reinforce ideas, residuum composition 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 bad-mannered junctions)?
Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that 1 of the first tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism⁹

Are forms designed with ergonomics and human scale in mind?

Ergonomics: an practical science concerned with designing and arranging things people use and then that the people and things interact near efficiently and safely – Merriam-webster.com

Can yous identify which forms are functional or structural, versus ornamental or decorative?
Have any 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 it be appropriate to use shape and form in a like way within your own artwork?

Value / tone / low-cal

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 night overall; stiff highlights and shadows, with footling mid-tone values)? What is the outcome of this?
Where are the low-cal sources within the artwork or scene? Is there a unmarried consequent light source or multiple sources of calorie-free (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting weather at a certain time of day or night; figures lit from the side to analyze grade; contrasting background or spot-lighting used to accentuate a focal area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine broken past surrounding leaves; chiaroscuro used to exaggerate theatrical drama and bear on; areas cloaked in darkness to minimize visual complexity; to enhance our agreement of narrative, mood or meaning)?

One of the about of import ways in which artists tin can use light to achieve particular effects is in making strong contrasts between light and night. This contrast is often described as chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of three-dimensional objects and figures flat or tonally modeled? How do different tonal values alter from one to the next (i.e. gentle, smoothen gradations; precipitous tonal bands)?
Are there any unusual, cogitating or transparent surfaces, mediums or materials which reverberate 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 abroad)?
Are gallery or environmental lite 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 piece of work?
Are shadows depicted within the artwork? What is the consequence of these shadows (i.e. anchors objects to the folio; creates the illusion of depth and space; creates dramatic contrasts)?
Do sculptural protrusions or relief elements take hold of the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer'southward experience?
How has tone been used to help direct the viewer'southward attention to focal areas?
Would information technology be appropriate to use value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.east. are you lot viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes take been used within the artwork (i.e. harmonious; complementary; principal; monochrome; earthy; warm; absurd/cold)? Has the artist used a wide or limited color palette (i.e. variety or unity)? Which colors dominate?
How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; ho-hum; muted; stake; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you see reflected color?
Has color contrast been used within the artwork (i.e. farthermost contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there whatever abrupt color changes or unexpected uses of colour?
What is the effect of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic depiction of local colour; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/pattern/repetition; unity and diverseness inside the artwork; lack of color places emphasis upon shape, detail and course)? What kind of atmosphere do these colors create?

Information technology is often said that warm colors (cerise, orange, xanthous) come forward and produce a sense of excitement (yellow is said to suggest warmth and happiness, as in the smiley confront), whereas cool colors (blue, greenish) recede and have a calming effect. 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 Brusk Guide to Writing About Art²

Would it exist appropriate to employ color in a like way within your ain artwork?

Texture / surface / design

Are there any 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 implied texture, such equally cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns; ornament)?
How are textural or patterned elements positioned and what upshot does this have (i.e. used intermittently to provide diversity; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; residual between detailed/textured areas and simpler areas; sleeky surface creates a sense of luxury; fake of texture conveys information most a subject field, i.east. softness of fur or strands of hair)?
Would it be appropriate to use 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.east. layering of foreground, middle-ground, groundwork; overlapping of objects; use of shadows to anchor objects; positioning of items in human relationship to the horizon line; linear perspective – learn more about one point perspective hither; 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 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 result of this viewpoint (i.e. allows sure parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative betwixt 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 moving-picture show plane? What is the relationship betwixt object and surrounding space (i.e. meaty / crowded / decorated / densely populated, with little surrounding infinite; spacious; conscientious coaction 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 clutter creates a feeling of chaos or claustrophobia)?
How does the artwork engage with real infinite – in and effectually the artwork (i.e. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior space? What connections or contrasts occur between inside and out? Is it comprised of a series of separate or linked spaces?
Would it exist appropriate to apply space in a like way within your ain artwork?

Employ of media / materials

What materials and mediums has the artwork been synthetic from? Have materials been concealed or presented deceptively (i.e. is there an actuality / honesty of materials; are materials celebrated; is the structure visible or exposed)? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of use; 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 note that the examiners practise not want the regurgitation of long, technical processes, but rather to see personal observations near how processes outcome and influence the artwork in question. Would replicating part of the artwork aid yous 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 form > final details;
- Architecture: brief > concepts > evolution > working drawings > foundations > structure > cladding > finishes;
- Graphic pattern: brief > concepts > development > Photoshop > proofing > printing.
How does the use of media assistance the artist to communicate ideas?
Are these methods useful for your ain projection?

Finally, call up that these questions are a guide only and are intended to brand you offset to think critically about the fine art yous are studying and creating.