5 Describe at Least Two Perceptual Concepts That Would Be Applied When Viewing a Piece of Art

April 25, 2022 Post a Comment

Terminal Updated on May 27, 2021

This commodity has been written for high school art students who are working upon a critical study of fine art, sketchbook annotation or an essay-based artist study. It contains a list of questions to guide students through the process of analyzing visual material of any kind, including drawing, painting, mixed media, graphic blueprint, sculpture, printmaking, architecture, photography, textiles, fashion and then on (the word 'artwork' in this article is extensive). The questions include a wide range of specialist fine art terms, prompting students to apply field of study-specific vocabulary in their responses. It combines communication from art analysis textbooks too as from high school art teachers who have start-manus experience teaching these concepts to students.

COPYRIGHT NOTE: This textile is available as a printable art assay PDF handout. This may be used gratuitous of accuse in a classroom state of affairs. To share this material with others, please use the social media buttons at the bottom of this folio. Copying, sharing, uploading or distributing this article (or the PDF) in any other way is not permitted.

How to analyse a piece of art — International GCSE artist analysis case: The prototype above shows function of an A* IGSCE Fine art and Pattern sketchbook page analysing the work of Jim Dine, past Rhea Maheshwari, ACG Parnell College.

Why do we study art?

Almost all high school art students carry out critical analysis of artist work, in conjunction with creating applied work. Looking critically at the work of others allows students to empathise compositional devices and and so explore these in their own art. This is one of the best ways for students to acquire.

Instructors who assign formal analyses want you lot to await—and look carefully. Think of the object as a series of decisions that an creative person made. Your task is to effigy out and describe, explain, and interpret those decisions and why the artist may have made them. – The Writing Center, Academy of Due north Carolina at Chapel Loma¹⁰

Art analysis tips

'I similar this' or 'I don't like this' without whatsoever farther explanation or justification is non analysis. Personal opinions must be supported with caption, evidence or justification.
'Analysis of artwork' does not mean 'clarification of artwork'. To gain high marks, students must move beyond stating the obvious and add together perceptive, personal insight. Students should demonstrate higher gild thinking – the ability to analyse, evaluate and synthesize information and ideas. For case, 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 instance – mayhap a deliberate endeavour by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important part of a formal assay, description is not enough on its own. You lot must introduce and contextualize your descriptions of the formal elements of the piece of work and then the reader understands how each element influences the piece of work'due south overall effect on the viewer. – Sylvan Barnet, A Short Guide to Writing About Fine art²

Cover a range of different visual elements and blueprint principles. It is mutual for students to become experts at writing nearly ane or two elements of composition, while neglecting everything else – for case, 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, as well as address context and meaning, where required. The questions below are designed to ensure that students embrace a broad range of relevant topics inside their analysis.
Write alongside the artwork discussed. In most all cases, written assay 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 analysis. Information technology is almost always helpful for high school students to support written material with sketches, drawings and diagrams that help the student understand and analyse the slice of fine 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 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-old way that artists have learned from each other. In doing this, you will engage with a work and an artist's arroyo even if you previously knew nothing nearly it. If possible do this whenever you can, non from a postcard, the net or a picture in a book, simply from the actual work itself. This is useful because information technology forces yous to look closely at the work and to consider elements you might non accept noticed before. – Susie Hodge, How to Expect at Art⁷

Finally, when writing nearly art, students should communicate with clarity; demonstrate subject-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 commodity near loftier school sketchbooks.

What should students write about?

Although each attribute of composition is treated separately in the questions below, students should consider the relationship betwixt visual elements (line, shape, course, value/tone, color/hue, texture/surface, space) and how these collaborate to grade design principles (such as unity, diversity, emphasis, potency, residual, symmetry, harmony, movement, contrast, rhythm, pattern, calibration, proportion) to communicate significant.

Equally complex as works of art typically are, in that location are really merely 3 full general categories of statements one tin brand nearly them. A statement addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

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

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an splendid instance of how to analyse a piece of fine art (it is important to notation that this video is an example of 'formal assay' and doesn't include contextual analysis, which is also required by many high school fine art examination boards, in add-on 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 breadth and depth of understanding of the artwork studied. They are intended to prompt higher guild thinking and to help students arrive at well-reasoned analysis.

It 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, just not a sculpture). The words provided every bit examples are intended to help students call back about appropriate vocabulary to employ when discussing a particular topic. Definitions of more than complex words have been provided.

Students should non try to copy out questions and so answer them; rather the questions should be considered a starting point for writing bullet pointed notation or sentences in paragraph class.

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

CONTENT, CONTEXT AND Meaning

Discipline matter / themes / issues / narratives / stories / ideas

There can be unlike, competing, and contradictory interpretations of the aforementioned artwork.
An artwork is not necessarily nearly what the artist wanted it to be about. – Terry Barrett, Criticizing Art: Agreement the Contemporary⁶

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

Does the artwork fall within an established genre (i.east. historical; mythical; religious; portraiture; landscape; still life; fantasy; architectural)?
Are there whatsoever recognisable objects, places or scenes? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?
Accept people been included? What tin we tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can we learn from their pose (i.e. frontal; contour; partly turned; torso language)? Where are they looking (i.due east. straight eye contact with viewer; downcast; interested in other subjects within the artwork)? Can nosotros work out relationships between figures from the mode they are posed?

What do the vesture, furnishings, accessories (horses, swords, dogs, clocks, business concern ledgers and and so along), groundwork, 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 Curt Guide to Writing About Art^two

What props and important details are included (mantle; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting back up the primary subject field? What is the effect of including these items inside the organisation (visual unity; connections betwixt different parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

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

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

Does the artwork communicate an activeness, narrative or story (i.due east. historical event or illustrate a scene from a story)? Has the arrangement been embellished, fix up or contrived?
Does the artwork explore movement? Do 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.east. multiple or sequential images; blurred edges; scene frozen mid-action; live functioning art; video art; kinetic art)?
What kind of abstract elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the consequence 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 pop art? What effect does this accept (i.eastward. copyright concerns)?

Parody: mimicking the appearance and/or fashion of something or someone, but with a twist for comic effect or critical annotate, as in Saturday Nighttime Live's political satires – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia^v

Does the discipline captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.eastward. 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.e. font size; font weight; font family; stenciled; hand-drawn; figurer-generated; printed)? What has influenced this pick of text?
Do key objects or images accept symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.due east. 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 item range or arrangement of types of prototype used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

What tone of voice does the artwork have (i.e. deliberate; honest; autobiographical; obvious; directly; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; at-home; turbulent)? Which subject matter choices assist to communicate this mood (i.eastward. weather and lighting conditions; color of objects and scenes)?
Does the title alter the fashion you interpret the work?
Were there any pattern constraints relating to the subject matter or theme/due south (i.e. a sculpture commissioned to represent a specific subject, place or idea)?
Are in that location thematic connections with your own project? What can you learn from the way the artist has approached this field of study?

Wider contexts

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

Supported past research, can you identify when, where and why the work was created and its original intention or purpose (i.due east. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a pattern brief; private viewing; public viewing)? In what way has this background influenced the result (i.e. availability of tools, materials or fourth dimension; expectations of the patron / audience)?
Where is the identify of construction or design site and how does this influence the artwork (i.eastward. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to arrange conditions weather / climate; congenital on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments take influenced this piece of work (i.e. natural events; social movements such equally feminism; political events, economical situations, celebrated events, religious settings, cultural events)? What effect did these take?
Is the work feature of an artistic style, movement or time catamenia? Has it been influenced by trends, fashions or ideologies? How can you tell?
Tin you brand whatever relevant connections or comparisons with other artworks? Have other artists explored a like subject in a like way? Did this occur earlier or after this artwork was created?
Can you make any relevant connections to other fields of written report or expression (i.e. geography, mathematics, literature, film, music, history or science)?
Which key biographical details almost the artist are relevant in agreement this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; education, religion; interests, attitudes, values and beliefs)?
Is this artwork office of a larger body of work? Is this typical of the piece of work the artist is known for?
How might your own upbringing, beliefs and biases distort your estimation of the artwork? Does your own response differ from the public response, that of the original audience and/orestimation by critics?
How practice these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORM

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 practical considerations (i.e. availability of materials; display constraints; design brief restrictions; screen sizes; common attribute ratios in film or photography such every bit 4:3 or 2:iii; or paper sizes such equally 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 different parts of the artwork physically split, such as within a diptych or triptych?
Where are the boundaries of the artwork (i.e. is the artwork self-independent; compact; 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 information technologymodified, moved or adjusted over fourth dimension? What causes such changes (i.e. atmospheric condition and exposure to the elements – melting, erosion, discoloration, decaying, wind motion, surface abrasion; structural failure – cracking, breaking; harm caused by unpredictable events, such as fire or vandalism; intentional movement, such every bit rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project and then expansive it takes years to construct)? How does this modify affect the artwork? Are there stylistic variances between parts?
How does the scale and format of the artwork chronicle to the surroundings where it is positioned, used, installed or hung (i.e. harmonious with mural typography; sensitive to next structures; imposing or dwarfed by surroundings; homo scale)? Is the artwork designed to be viewed from ane vantage point (i.east. front facing; viewed from below; approached from a main entrance; prepare at homo centre level) or many? Are images taken from the best angle?
Would a similar format benefit your own project? Why / why non?

Structure / layout

Has the artwork been organised using a formal organisation of arrangement or mathematical proportion (i.e. dominion of thirds; golden ratio or spiral; grid format; geometric; ascendant triangle; or circular limerick) or is the organisation less anticipated (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this organisation of organization help with the communication of ideas? Can yous draw a diagram to show the bones construction of the artwork?
Can you see a clear intention with alignment and positioning of parts inside the artwork (i.e. edges aligned; items spaced equally; unproblematic or complex arrangement; overlapping, clustered or full-bodied objects; dispersed, carve up items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What consequence practice these visual devices have (i.e. imply bureaucracy; assistance the viewer empathise relationships between parts of artwork; create rhythm)?
Does the artwork take a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
Tin you draw a diagram to illustrate emphasis and dominance (i.e. 'blocking in' mass, where the 'heavier' dominant forms appear in the limerick)? Where are dominant items located within the frame?
How do your optics move through the limerick?
Could your own artwork use a similar organisational construction?

Line

What types of linear marking-making are shown (thick; thin; 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; sharp)? What atmosphere, moods, emotions or ideas do these evoke?
Are at that place any interrupted, suggested or implied lines (i.e. lines that can't literally be seen, but the viewer's brain connects the dots betwixt carve up elements)?
Where are the dominating lines in the composition and what is the consequence of these? Can you overlay tracing paper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate fabric qualities, texture, blueprint or rhythm;
- Boundary lines: may segment, split or divide 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 leap from i point of interest to another, rather than move smoothly or predictably along leading lines^nine. Lines may yet help to establish emphasis by 'pointing' towards sure 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 suggest height, reaching upwards or falling;
- Intersecting perpendicular lines: may suggest rigidity, strength;
- Abstruse lines: may residual the limerick, create dissimilarity or emphasis;
- Angular / diagonal lines: may suggest tension or unease;
- Cluttered lines: may suggest a sense of agitation or panic;
- Underdrawing, construction lines or contour lines: describe class (learn more than about profile lines in our article about line drawing);
- Curving / organic lines: may suggest nature, peace, motion or energy.
What is the relationship between line and three-dimensional grade? Areoutlines used to define form and edges?
Would information technology be appropriate to use line in a similar manner within your own artwork?

Shape and class

Can y'all place a dominant visual language within the shapes and forms shown (i.due east. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; circuitous; minimal)? Why is this visual language appropriate?
How are the edges of forms treated (i.e. do they fade away or mistiness at the edges, equally if melting into the folio; ripped or torn; distinct and hard-edged; or, in the words of James Gurney^ix, do they 'deliquesce into sketchy lines, paint strokes or drips')?
Are there any three-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this touch on the viewing of the work from dissimilar angles?
Is in that location a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, residue 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 scale or size; distracting or bad-mannered junctions)?
Are silhouettes (external edges of objects) considered?

All shapes take silhouettes, and vision research has shown that one of the commencement tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism^ix

Are forms designed with ergonomics and human calibration in mind?

Ergonomics: an technology concerned with designing and arranging things people apply so that the people and things interact most efficiently and safely – Merriam-webster.com

Can you 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.e. to explicate structure methods; communicate information; dramatic issue)?
Would information technology be advisable to apply shape and grade in a similar way within your own artwork?

Value / tone / light

Has a broad tonal range been used in the artwork (i.e. a wide range of darks, highlights and mid-tones) or is the tonal range express (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the issue of this?
Where are the low-cal sources within the artwork or scene? Is at that place a single consistent light source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting conditions at a certain fourth dimension of day or nighttime; 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 indicate sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and bear upon; areas cloaked in darkness to minimize visual complexity; to enhance our understanding of narrative, mood or significant)?

Ane of the almost important ways in which artists can utilize light to achieve particular effects is in making strong contrasts between light and night. This contrast is oftentimes described every bit chiaroscuro. – Matthew Treherne, Analysing Paintings, University of Leeds³

Are representations of three-dimensional objects and figures apartment or tonally modeled? How do different tonal values alter from ane to the adjacent (i.e. gentle, smooth 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 help communicate atmospheric perspective (i.east. paler and bluer equally objects get further away)?
Are gallery or environmental light sources where the artwork is displayed stock-still or fluctuating? Does the piece of work appear different when viewed at different times of 24-hour interval? How does this bear upon your interpretation of the work?
Are shadows depicted within the artwork? What is the event of these shadows (i.e. anchors objects to the page; creates the illusion of depth and infinite; creates dramatic contrasts)?
Practice 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's experience?
How has tone been used to help straight the viewer's attention to focal areas?
Would it be appropriate to employ value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Tin 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.e. harmonious; complementary; primary; monochrome; bawdy; warm; absurd/cold)? Has the artist used a broad or limited color palette (i.east. variety or unity)? Which colors boss?
How would you describe the intensity of the colors (vibrant; brilliant; bright; glowing; pure; saturated; potent; dull; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you run across reflected color?
Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?
What is the issue of these color choices (i.eastward. expressing symbolic or thematic ideas; descriptive or realistic delineation of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating residuum; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of colour places accent upon shape, particular and form)? What kind of atmosphere do these colors create?

It is often said that warm colors (red, orangish, yellow) come up forward and produce a sense of excitement (yellow is said to advise warmth and happiness, as in the smiley face), whereas cool colors (blue, light-green) recede and have a calming event. Experiments, however, have proved inconclusive; the response to color – despite clichés nigh seeing scarlet or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Brusque Guide to Writing Most Artⁱⁱ

Would it be advisable to use colour in a similar fashion inside your own artwork?

Texture / surface / pattern

Are there whatever 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 implied texture, such every bit cantankerous-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns; decoration)?
How are textural or patterned elements positioned and what result does this have (i.e. used intermittently to provide variety; repeating design creates rhythm; patterns broken create focal points; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys data almost a subject, i.e. softness of fur or strands of hair)?
Would it be appropriate to utilise texture / surface in a similar way within your own artwork?

Space

Is the pictorial infinite shallow or deep? How does the artwork create the illusion of depth (i.due east. layering of foreground, eye-basis, background; overlapping of objects; utilise of shadows to ballast objects; positioning of items in relationship to the horizon line; linear perspective – larn more than almost one betoken perspective here; tonal modeling; relationships with adjacent objects and those in close proximity – including the homo class – to create a sense of scale; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where true calibration 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 event of this viewpoint (i.eastward. allows certain parts of the scene to exist dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two separate spaces; provides more information nigh a space than would usually be seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or picture aeroplane? What is the human relationship between object and surrounding space (i.due east. compact / crowded / decorated / densely populated, with trivial surrounding infinite; spacious; careful interplay between positive and negative space; objects clustered to create areas of visual involvement)? What is the effect of this (i.east. creates a sense of emptiness or isolation; business organization / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork appoint with real space – in and around the artwork (i.e. cocky-contained; airtight off; eye contact with viewer; reaching outwards)? Is the viewer expected to motion through the artwork? What is the relationship between interior and exterior infinite? What connections or contrasts occur between inside and out? Is information technology comprised of a series of split or linked spaces?
Would it be advisable to use space in a similar fashion inside your ain artwork?

Utilise 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 authenticity / honesty of materials; are materials historic; 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 of import to note that the examiners do not want the regurgitation of long, technical processes, simply rather to see personal observations most how processes issue and influence the artwork in question. Would replicating part of the artwork help y'all gain a ameliorate agreement 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 grade > final details;
- Architecture: brief > concepts > development > working drawings > foundations > construction > cladding > finishes;
- Graphic design: 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 project?

Finally, think that these questions are a guide only and are intended to make you first to think critically about the art y'all are studying and creating.

Hale Busucher