And Add Visual Interest to a Work of Art or Design and Artist Will Often

Last Updated on May 27, 2021

This commodity has been written for loftier school art students who are working upon a critical study of art, sketchbook note or an essay-based artist study. Information technology contains a list of questions to guide students through the process of analyzing visual cloth of whatsoever kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, manner and so on (the word 'artwork' in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from fine art analysis textbooks as well equally from high school fine art teachers who have showtime-manus feel teaching these concepts to students.

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

Why do nosotros study art?

Almost all high school art students carry out critical assay of artist piece of work, in conjunction with creating practical work. Looking critically at the work of others allows students to empathise compositional devices so explore these in their own fine art. This is one of the all-time ways for students to learn.

Instructors who assign formal analyses want you to wait—and look advisedly. Recall of the object equally a series of decisions that an creative person made. Your task is to figure out and describe, explain, and interpret those decisions and why the artist may accept made them. – The Writing Center, University of N Carolina at Chapel Hill¹⁰

Art analysis tips

'I like this' or 'I don't like this' without any further explanation or justification is not analysis. Personal opinions must be supported with caption, evidence or justification.
'Analysis of artwork' does not mean 'clarification of artwork'. To proceeds high marks, students must move across stating the obvious and add perceptive, personal insight. Students should demonstrate college gild thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in sure areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the example – perhaps a deliberate try past the artist to draw attending to a focal signal, helping to convey thematic ideas.

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

Cover a range of different visual elements and blueprint principles. It is common for students to become experts at writing about one or two elements of limerick, while neglecting everything else – for example, only focusing upon the apply 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, likewise as accost context and meaning, where required. The questions below are designed to ensure that students comprehend a broad range of relevant topics within their assay.
Write aslope the artwork discussed. In most all cases, written analysis should exist presented alongside 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 assay. It is nearly always helpful for high school students to support written fabric with sketches, drawings and diagrams that help the student understand and analyse the piece of fine art. This might include composition sketches; diagrams showing the primary structure of an artwork; detailed enlargements of pocket-size sections; experiments imitating utilize of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an of import role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists accept learned from each other. In doing this, yous volition appoint with a work and an artist's arroyo even if you previously knew nothing about information technology. If possible do this whenever y'all can, not from a postcard, the cyberspace or a moving picture in a book, but from the bodily work itself. This is useful considering information technology forces you to await closely at the work and to consider elements you might not have noticed before. – Susie Hodge, How to Look at Art^seven

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

What should students write about?

Although each aspect of composition is treated separately in the questions below, students should consider the human relationship betwixt visual elements (line, shape, form, value/tone, colour/hue, texture/surface, space) and how these interact to form design principles (such every bit unity, diverseness, emphasis, dominance, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate pregnant.

As complex every bit works of fine art typically are, at that place are really only 3 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 result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of fine art, which is made up of such things every bit line, shape, color, texture, mass, composition. These things give the stone or sail its form, its expression, its content, its meaning. – Sylvan Barnet, A Brusque 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 piece of art (information technology is important to note that this video is an example of 'formal analysis' and doesn't include contextual analysis, which is as well required by many loftier school art examination boards, in addition to the formal analysis illustrated here):

Limerick analysis: 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 order thinking and to help students go far at well-reasoned assay.

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 advisable for analyzing a painting, but not a sculpture). The words provided every bit examples are intended to help students recollect well-nigh appropriate vocabulary to use when discussing a particular topic. Definitions of more complex words have been provided.

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

How to write art analysis — A minor sample of the books that informed this article. Some of these were written for fine art history students learning how to write an fine art analysis; others provide data about composition. For more details, please refer to the bibliography below.

CONTENT, CONTEXT AND MEANING

Subject 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 artist wanted information technology to exist virtually. – Terry Barrett, Criticizing Fine art: Understanding the Contemporary⁶

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

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; yet life; fantasy; architectural)?
Are in that location any recognisable objects, places or scenes? How are these presented (i.due east. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; archaic; bathetic; concealed; suggested; blurred or focused)?
Have people been included? What can nosotros tell about them (i.e. identity; age; attire; profession; cultural connections; health; family unit relationships; wealth; mood/expression)? What can we learn from their pose (i.eastward. frontal; profile; partly turned; body language)? Where are they looking (i.e. direct heart 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 wearable, furnishings, accessories (horses, swords, dogs, clocks, business ledgers so forth), background, angle of the caput or posture of the caput and body, direction of the gaze, and facial expression contribute to our sense of the figure'due south social identity (monarch, clergyman, bays wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing Almost Fine art²

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject area? What is the event of including these items inside the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; diverseness and visual interest; separates / divides / borders; transformation from i object to another; unexpected juxtaposition)?

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

A motif is an chemical element in a composition or design that tin be used repeatedly for decorative, structural, or iconographic purposes. A motif tin exist representational or abstract, and it tin can be endowed with symbolic meaning. Motifs tin be repeated in multiple artworks and often recur throughout the life's work of an individual creative person. – John A. Parks, Universal Principles of Art¹¹

Does the artwork communicate an activeness, narrative or story (i.east. historical issue or illustrate a scene from a story)? Has the arrangement been embellished, set or contrived?
Does the artwork explore movement? Do yous gain a sense that parts of the artwork are about to change, topple or fall (i.east. tension; suspense)? Does the artwork capture objects in motion (i.due east. multiple or sequential images; blurred edges; scene frozen mid-activity; alive performance fine art; video art; kinetic art)?
What kind of abstract elements are shown (i.east. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the issue of spontaneous, accidental creation or conscientious, deliberate arrangement?
Does the work include the appropriation of work by other artists, such as within a parody or pop art? What outcome does this have (i.eastward. copyright concerns)?

Parody: mimicking the appearance and/or way of something or someone, but with a twist for comic upshot or disquisitional comment, every bit in Saturday Night Live's political satires – Dr. Robert J. Belton, Fine art History: A Preliminary Handbook, The University of British Columbia⁵

Does the subject obsess an instinctual response, such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human being faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements grab our attending, regardless of where they are positioned –James Gurney writes more about this fascinating topic.
What kind of text has been used (i.e. font size; font weight; font family; stenciled; hand-drawn; estimator-generated; printed)? What has influenced this selection of text?
Exercise key objects or images have symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. apologue; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstruse ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic 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 system of types of image used past an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

What tone of voice does the artwork have (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.east positive; energetic; excitement; serious; sedate; peaceful; at-home; melancholic; tense; uneasy; uplifting; foreboding; at-home; turbulent)? Which subject thing choices assist to communicate this mood (i.east. weather and lighting conditions; color of objects and scenes)?
Does the championship change the fashion you interpret the work?
Were at that place any blueprint constraints relating to the subject affair or theme/s (i.east. a sculpture commissioned to represent a specific subject, place or idea)?
Are in that location thematic connections with your own project? What tin can you larn from the mode the creative person has approached this discipline?

Wider contexts

All fine art is in part nigh the world in which it emerged. – Terry Barrett, Criticizing Art: Agreement the Contemporary⁶

Supported by research, can you identify when, where and why the work was created and its original intention or purpose (i.eastward. private sale; deputed for a specific possessor; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; individual viewing; public viewing)? In what mode has this background influenced the outcome (i.east. availability of tools, materials or time; expectations of the patron / audience)?
Where is the place of structure or design site and how does this influence the artwork (i.due east. 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 dissimilar?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, historic events, religious settings, cultural events)? What effect did these have?
Is the piece of work characteristic of an creative style, motility or time catamenia? Has it been influenced past trends, fashions or ideologies? How can you lot tell?
Can you make any relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a like way? Did this occur before or after this artwork was created?
Tin you make any relevant connections to other fields of report or expression (i.eastward. geography, mathematics, literature, picture show, music, history or science)?
Which key biographical details about the artist are relevant in agreement this artwork (upbringing and personal situation; family unit and relationships; psychological state; health and fitness; socioeconomic condition; employment; ethnicity; culture; gender; instruction, religion; interests, attitudes, values and beliefs)?
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, beliefs and biases distort your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/orestimation by critics?
How do these wider contexts compare to the contexts surrounding your own work?

Limerick AND Form

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 applied considerations (i.e. availability of materials; display constraints; design brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:three or 2:3; or newspaper 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 field matter?
Are different parts of the artwork physically separate, such every bit within a diptych or triptych?
Where are the boundaries of the artwork (i.eastward. is the artwork cocky-contained; meaty; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork have a fixed, permanent format, or was itmodified, moved or adjusted over time? What causes such changes (i.east. weather and exposure to the elements – melting, erosion, discoloration, decaying, current of air motility, surface chafe; structural failure – bang-up, breaking; impairment caused by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterward; viewer interaction; additions, renovations and restoration past subsequent artists or users; a projection and then expansive information technology takes years to construct)? How does this change affect the artwork? Are there stylistic variances betwixt parts?
How does the scale and format of the artwork chronicle to the surround where information technology is positioned, used, installed or hung (i.e. harmonious with mural typography; sensitive to next structures; imposing or dwarfed past environment; man scale)? Is the artwork designed to be viewed from 1 vantage bespeak (i.e. front facing; viewed from below; approached from a main entrance; ready at man eye level) or many? Are images taken from the best bending?
Would a similar format benefit your own project? Why / why non?

Structure / layout

Has the artwork been organised using a formal system of organisation 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 predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of system help with the communication of ideas? Can you draw a diagram to testify the basic structure of the artwork?
Can you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced as; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames inside frames; bordered perimeter or patterned edging; broken borders)? What consequence practise these visual devices have (i.east. imply bureaucracy; aid the viewer empathise relationships between parts of artwork; create rhythm)?
Does the artwork have a main axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.due east. stable), radial, or intentionally unbalanced (i.east. to create tension or unease)?
Can you depict a diagram to illustrate emphasis and dominance (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 eyes move through the limerick?
Could your ain artwork utilise a similar organisational structure?

Line

What types of linear marking-making are shown (thick; thin; short; long; soft; assuming; 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 exercise 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 composition and what is the upshot of these? Can you overlay tracing paper upon an artwork to illustrate some of the of import lines?
- Repeating lines: may simulate textile qualities, texture, blueprint or rhythm;
- Boundary lines: may segment, dissever or separate different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or lead the middle to focal points (eye tracking studies point that our eyes jump from one bespeak of interest to another, rather than motility smoothly or predictably forth leading lines^ix. Lines may nonetheless assistance to establish emphasis by 'pointing' towards certain items);
- Parallel lines: may create a sense of depth or movement through infinite within a landscape;
- Horizontal lines: may create a sense of stability and permanence;
- Vertical lines: may suggest elevation, reaching upward or falling;
- Intersecting perpendicular lines: may advise rigidity, strength;
- Abstract lines: may rest the limerick, create contrast or emphasis;
- Angular / diagonal lines: may propose tension or unease;
- Cluttered lines: may propose a sense of agitation or panic;
- Underdrawing, structure lines or contour lines: describe class (learn more most contour lines in our article virtually line cartoon);
- Curving / organic lines: may suggest nature, peace, movement or energy.
What is the relationship between line and three-dimensional form? Areoutlines used to define class and edges?
Would information technology exist appropriate to use line in a like style within your own artwork?

Shape and form

Can you identify a dominant visual language within 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. exercise they fade abroad or blur at the edges, equally if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney⁹, practise they 'dissolve into sketchy lines, paint strokes or drips')?
Are there whatsoever three-dimensional forms or relief elements inside the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from different angles?
Is there a variety 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 scale or size; distracting or awkward junctions)?
Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that i 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 heed?

Ergonomics: an applied scientific discipline concerned with designing and arranging things people use so that the people and things interact most efficiently and safely – Merriam-webster.com

Can y'all identify which forms are functional or structural, versus ornamental or decorative?
Have any forms been disassembled, 'cut away' or exposed, such equally a sectional cartoon? What is the purpose of this (i.due east. to explain construction methods; communicate information; dramatic issue)?
Would information technology be appropriate to use shape and form in a similar way within your own artwork?

Value / tone / low-cal

Has a wide tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. stake and faint; subdued; dull; heart-searching and dark overall; strong highlights and shadows, with fiddling mid-tone values)? What is the effect of this?
Where are the light sources within the artwork or scene? Is in that location 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.eastward. mimics natural lighting atmospheric condition at a sure fourth dimension of solar day or night; 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 signal sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to heighten our understanding of narrative, mood or significant)?

One of the about important ways in which artists tin 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 iii-dimensional objects and figures apartment or tonally modeled? How do different tonal values change from 1 to the next (i.e. gentle, shine gradations; sharp tonal bands)?
Are there whatsoever unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit low-cal in a special way?
Has tone been used to assistance communicate atmospheric perspective (i.east. paler and bluer as objects go farther away)?
Are gallery or environmental low-cal sources where the artwork is displayed stock-still or fluctuating? Does the work appear unlike when viewed at different times of day? How does this impact your interpretation of the piece of work?
Are shadows depicted within the artwork? What is the upshot of these shadows (i.e. anchors objects to the page; creates the illusion of depth and space; creates dramatic contrasts)?
Exercise sculptural protrusions or relief elements grab the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer'southward feel?
How has tone been used to aid direct the viewer's attention to focal areas?
Would information technology be appropriate to utilize value / tone in a like mode within your own artwork? Why / why not?

Colour / hue

Tin can you view the true color of the artwork (i.e. are yous viewing a depression-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes have been used within the artwork (i.east. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited colour palette (i.eastward. variety or unity)? Which colors dominate?
How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; stiff; dull; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you run across reflected colour?
Has colour contrast been used within the artwork (i.east. farthermost contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there whatever sharp 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 color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/design/repetition; unity and variety inside the artwork; lack of color places emphasis upon shape, detail and form)? What kind of atmosphere exercise these colors create?

It is often said that warm colors (red, orangish, yellow) come frontwards and produce a sense of excitement (yellow is said to suggest warmth and happiness, as in the smiley face), whereas absurd colors (blue, green) recede and take a calming effect. Experiments, even so, take proved inconclusive; the response to color – despite clichés about seeing cherry or feeling blueish – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing About Artⁱⁱ

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

Texture / surface / pattern

Are there any interesting textural, tactile or surface qualities inside the artwork (i.east. bumpy; grooved; indented; scratched; stressed; rough; shine; 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 as 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 issue does this have (i.due east. used intermittently to provide diverseness; repeating pattern creates rhythm; patterns cleaved 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; false of texture conveys data about a subject, i.e. softness of fur or strands of pilus)?
Would it be appropriate to use texture / surface in a similar way within your own artwork?

Infinite

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, eye-ground, background; overlapping of objects; utilise of shadows to anchor objects; positioning of items in human relationship to the horizon line; linear perspective – learn more almost one point perspective here; tonal modeling; relationships with adjacent objects and those in close proximity – including the human form – to create a sense of calibration; spatial distortions or optical illusions; manipulating scale of objects to create 'surrealist' spaces where truthful scale is unknown)?
Has an unusual viewpoint been used (i.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 effect of this viewpoint (i.e. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened; or suggests a narrative between two dissever spaces; provides more than data about a space than would ordinarily be seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or moving-picture show airplane? What is the relationship betwixt object and surrounding space (i.e. meaty / crowded / busy / densely populated, with piddling surrounding space; spacious; careful interplay betwixt positive and negative space; objects amassed to create areas of visual interest)? What is the outcome of this (i.eastward. creates a sense of emptiness or isolation; business / visual clutter creates a feeling of anarchy or claustrophobia)?
How does the artwork appoint with real space – in and effectually the artwork (i.eastward. self-independent; closed off; centre contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior infinite? What connections or contrasts occur between inside and out? Is it comprised of a series of dissever or linked spaces?
Would it exist advisable to use space in a similar fashion within your own artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Accept materials been curtained 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 employ; cost; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?
Which skills, techniques, methods and processes were used (i.eastward. traditional; conventional; industrial; contemporary; innovative)? Information technology is important to note that the examiners do not want the regurgitation of long, technical processes, merely rather to see personal observations about how processes effect 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 case:
- Painting: gesso footing > textured mediums > underdrawing > blocking in colors > defining form > final details;
- Compages: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic design: brief > concepts > development > Photoshop > proofing > printing.
How does the utilise of media help the artist to communicate ideas?
Are these methods useful for your own project?

Finally, retrieve that these questions are a guide but and are intended to make y'all start to think critically about the art y'all are studying and creating.

How to analyse your own artwork — Wondering how to clarify your own artwork? The questions above can be practical to your ain artwork, as in the fine art analysis example higher up, by Nikau Hindin, ACG Parnell College. In this sketchbook folio she analyses her own Photoshop thumbnails, created using photographs of her chosen subject thing. Critical analysis of your own artwork is something that students should become very familiar with over the duration of an art and design course. You may wish to view the rest of Nikau's A* A Level Art coursework projection.

Farther Reading

If you enjoyed this commodity you may as well like our article about high school sketchbooks (which includes a section virtually sketchbook annotation). If you are looking for more than assist with how to write an art analysis essay you lot may like our serial about writing an artist study.

_BIBLIOGRAPHY

_{A guide for Analyzing Works of Art; Sculpture and Painting, Durantas}
_{A Short Guide to Writing Almost Art, Sylvan Barnet (Amazon affiliate link)}
_{Analysing Paintings, Matthew Treherne, University of Leeds}
_{Art and Art History Tips, The University of Vermont}
_{Art History: A Preliminary Handbook, Dr. Robert J. Belton, The University of British Columbia}
_{Criticizing Art: Agreement the Contemporary, Terry Barrett (Amazon affiliate link)}
_{How to Look at Fine art, Susie Hodge (Amazon affiliate link)}
_{How to Expect at a Painting, Françoise Barbe-Gall}
_{Imaginative Realism, James Gurney (Amazon chapter link)}
_{The Writing Center, Academy of North Carolina at Chapel Hill}
_{Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing and Practicing Art, John A. Parks (Amazon affiliate link)}

Amiria has been an Art & Pattern teacher and a Curriculum Co-ordinator for vii years, responsible for the course design and assessment of student piece of work in two high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Source: https://www.studentartguide.com/articles/how-to-analyze-an-artwork