Which of the Following Would Be Appriote Criterie for Analiziying This Piece of Art

April 26, 2022 Post a Comment

Last Updated on May 27, 2021

This article has been written for loftier school art students who are working upon a critical report of art, sketchbook annotation or an essay-based artist 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 design, sculpture, printmaking, architecture, photography, textiles, fashion so on (the word 'artwork' in this commodity is all-encompassing). The questions include a wide range of specialist fine art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from art analysis textbooks every bit well as from high school art teachers who have get-go-hand experience educational activity these concepts to students.

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

Why practice we study fine art?

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

Instructors who assign formal analyses want you to look—and await carefully. Think of the object as a series of decisions that an artist fabricated. Your chore is to figure out and describe, explicate, and interpret those decisions and why the creative person may have made them. – The Writing Center, University of Northward Carolina at Chapel Loma¹⁰

Art analysis tips

'I similar this' or 'I don't like this' without any further explanation or justification is not analysis. Personal opinions must be supported with explanation, evidence or justification.
'Analysis of artwork' does not hateful 'description of artwork'. To proceeds high marks, students must movement across 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 case, if color has been used to create stiff contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case – possibly a deliberate attempt by the creative person to draw attention to a focal signal, helping to convey thematic ideas.

Although description is an of import part of a formal analysis, 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 element influences the piece of work'due south overall effect on the viewer. – Sylvan Barnet, A Curt Guide to Writing Nearly Art²

Comprehend a range of unlike visual elements and design principles. It is mutual for students to become experts at writing nearly one or two elements of composition, while neglecting everything else – for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete assay of the artwork. Students should ensure that they comprehend a broad range of art elements and design principles, too as address context and meaning, where required. The questions below are designed to ensure that students cover a broad range of relevant topics within their analysis.
Write aslope the artwork discussed. In virtually 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. It is almost always helpful for high school students to support written textile with sketches, drawings and diagrams that help the student empathize and analyse the piece of art. This might include composition sketches; diagrams showing the chief structure of an artwork; detailed enlargements of small-scale 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 artist studies.

Making sketches or drawings from works of 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 lot previously knew cypher about it. If possible do this whenever you can, not from a postcard, the internet or a pic in a volume, just from the actual work itself. This is useful because it forces you to look closely at the work and to consider elements you might non accept noticed before. – Susie Hodge, How to Look at Fine art⁷

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

What should students write well-nigh?

Although each attribute of composition is treated separately in the questions below, students should consider the human relationship betwixt visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to form design principles (such as unity, variety, emphasis, say-so, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate significant.

As complex as works of fine art typically are, in that location are really just three full general categories of statements i tin make virtually them. A statement addresses form, content or context (or their diverse interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia⁵

…a formal assay – the result of looking closely – is an assay of the course that the creative person produces; that is, an analysis of the work of art, which is made up of such things every bit line, shape, color, texture, mass, composition. These things give the stone or canvas its class, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing Nigh Artⁱⁱ

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent case of how to analyse a piece of fine art (it is important to note that this video is an example of 'formal analysis' and doesn't include contextual analysis, which is also required by many high school art examination boards, in add-on 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 college order thinking and to help students make it at well-reasoned analysis.

It is not expected that students answer every question (doing then would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are well-nigh helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, only not a sculpture). The words provided every bit examples are intended to help students think about appropriate vocabulary to utilise when discussing a particular topic. Definitions of more complex words have been provided.

Students should not attempt to copy out questions and then answer them; rather the questions should be considered a starting betoken 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 fine art analysis; others provide information most limerick. For more details, please refer to the bibliography below.

CONTENT, CONTEXT AND MEANING

Subject thing / themes / issues / narratives / stories / ideas

In that location can be dissimilar, competing, and contradictory interpretations of the same artwork.
An artwork is not necessarily nearly what the artist wanted it to exist most. – Terry Barrett, Criticizing Art: Understanding the Contemporary^six

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

Does the artwork fall inside an established genre (i.e. historical; mythical; religious; portraiture; landscape; nevertheless life; fantasy; architectural)?
Are in that location 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; archaic; abstracted; concealed; suggested; blurred or focused)?
Have people been included? What can we tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can we acquire from their pose (i.eastward. 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)? Tin can we work out relationships between figures from the mode they are posed?

What do the habiliment, furnishings, accessories (horses, swords, dogs, clocks, concern ledgers and so forth), background, angle of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure's social identity (monarch, clergyman, bays wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Brusque Guide to Writing Most Art²

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How practise aspects of setting back up the primary subject? What is the effect of including these items within the organization (visual unity; connections between unlike parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to some other; unexpected juxtaposition)?

If a waiter served y'all a whole fish and a scoop of chocolate 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 element in a composition or blueprint that can exist used repeatedly for decorative, structural, or iconographic purposes. A motif tin be representational or abstruse, and it can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and often recur throughout the life's work of an private artist. – John A. Parks, Universal Principles of Fine art¹¹

Does the artwork communicate an activeness, narrative or story (i.east. historical outcome or illustrate a scene from a story)? Has the arrangement been embellished, gear up up or contrived?
Does the artwork explore motion? Do you gain a sense that parts of the artwork are virtually to modify, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in move (i.east. multiple or sequential images; blurred edges; scene frozen mid-activity; live operation art; video art; kinetic art)?
What kind of abstract elements are shown (i.e. bars; shapes; splashes; lines)? Accept these been derived from or inspired by realistic forms? Are they the effect of spontaneous, accidental cosmos or conscientious, deliberate system?
Does the work include the cribbing of work by other artists, such as within a parody or pop art? What upshot does this have (i.eastward. copyright concerns)?

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

Does the subject captivate an instinctual response, such equally items that are informative, shocking or threatening for humans (i.e. unsafe places; abnormally positioned items; human faces; the gaze of people; move; text)? Heap map tracking has demonstrated that these elements catch our attention, 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; computer-generated; printed)? What has influenced this choice 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)?

Apologue is a device whereby abstract ideas can be communicated using images of the concrete globe. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic pregnant. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Art¹¹

An iconography is a particular range or arrangement 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.great britain

What tone of vocalization does the artwork have (i.e. deliberate; honest; autobiographical; obvious; direct; 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 help to communicate this mood (i.e. conditions and lighting conditions; color of objects and scenes)?
Does the championship change the way you interpret the piece of work?
Were there whatever blueprint constraints relating to the subject matter or theme/s (i.eastward. a sculpture commissioned to represent a specific subject, place or idea)?
Are at that place thematic connections with your ain project? What can yous acquire from the way the creative person has approached this subject?

Wider contexts

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

Supported by enquiry, can you lot 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 way has this background influenced the outcome (i.e. availability of tools, materials or fourth dimension; expectations of the patron / audition)?
Where is the place of construction or design site and how does this influence the artwork (i.east. reflects local traditions, adroitness, or customs; complements surrounding designs; designed to accommodate weather atmospheric condition / climate; built on historic site)? Was the artwork originally located somewhere different?
Which events and surrounding environments have influenced this work (i.e. natural events; social movements such equally feminism; political events, economical situations, historic events, religious settings, cultural events)? What upshot did these accept?
Is the work characteristic of an artistic style, movement or time period? Has information technology been influenced by trends, fashions or ideologies? How can y'all tell?
Can you lot brand any relevant connections or comparisons with other artworks? Take other artists explored a similar subject in a similar way? Did this occur before or afterwards this artwork was created?
Can y'all brand any relevant connections to other fields of written report or expression (i.e. geography, mathematics, literature, picture, music, history or science)?
Which key biographical details most the artist are relevant in agreement this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; civilization; gender; education, religion; interests, attitudes, values and behavior)?
Is this artwork office of a larger body of piece of work? Is this typical of the work the creative person is known for?
How might your own upbringing, behavior and biases misconstrue your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/orinterpretation past critics?
How do these wider contexts compare to the contexts surrounding your own work?

Composition AND Grade

Format

What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.e. availability of materials; brandish constraints; design brief restrictions; screen sizes; mutual aspect ratios in film or photography such equally 4:3 or two:three; or paper sizes such as A4, A3, A2, A1)?
How exercise images fit inside the frame (cropped; truncated; shown in total)? 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-contained; compact; penetrating; sprawling)?
Is the artwork site-specific or designed to be displayed across multiple locations or environments?
Does the artwork have a stock-still, permanent format, or was itmodified, moved or adjusted over fourth dimension? What causes such changes (i.due east. weather and exposure to the elements – melting, erosion, discoloration, decaying, air current movement, 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 later; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project and then expansive information technology takes years to construct)? How does this change bear on the artwork? Are there stylistic variances between parts?
How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; man scale)? Is the artwork designed to be viewed from one vantage point (i.e. front end facing; viewed from below; approached from a principal entrance; set at homo middle level) or many? Are images taken from the best angle?
Would a similar format benefit your ain projection? Why / why not?

Structure / layout

Has the artwork been organised using a formal organization of arrangement or mathematical proportion (i.e. dominion of thirds; gilt ratio or spiral; grid format; geometric; dominant triangle; or circular limerick) or is the arrangement less predictable (i.due east. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this organization of arrangement help with the communication of ideas? Can you draw a diagram to show the basic structure of the artwork?
Can you meet a articulate intention with alignment and positioning of parts inside the artwork (i.due east. edges aligned; items spaced equally; uncomplicated or circuitous system; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending across the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What event practise these visual devices have (i.eastward. imply hierarchy; help the viewer understand relationships betwixt parts of artwork; create rhythm)?
Does the artwork have a master centrality of symmetry (vertical, diagonal, horizontal)? Can you lot locate a center of rest? Is the artwork symmetrical, asymmetrical (i.due east. stable), radial, or intentionally unbalanced (i.east. to create tension or unease)?
Can you describe a diagram to illustrate emphasis and authorization (i.eastward. 'blocking in' mass, where the 'heavier' dominant forms appear in the limerick)? Where are dominant items located within the frame?
How do your eyes move through the limerick?
Could your own artwork employ a similar organisational construction?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; assuming; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cantankerous-hatching; meandering; gestural, fluid; flowing; jagged; spiky; precipitous)? What temper, moods, emotions or ideas do these evoke?
Are there any interrupted, suggested or unsaid lines (i.e. lines that can't literally exist seen, but the viewer's encephalon connects the dots between separate elements)?
Where are the dominating lines in the limerick and what is the upshot of these? Can you lot overlay tracing newspaper upon an artwork to illustrate some of the important lines?
- Repeating lines: may simulate material qualities, texture, pattern or rhythm;
- Boundary lines: may segment, divide or dissever different areas;
- Leading lines: may manipulate the viewer's gaze, directing vision or atomic number 82 the middle to focal points (eye tracking studies indicate that our eyes jump from 1 point of interest to another, rather than motion smoothly or predictably along leading lines⁹. Lines may nevertheless help to constitute 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 tiptop, reaching upwards or falling;
- Intersecting perpendicular lines: may propose rigidity, strength;
- Abstract lines: may balance the composition, create contrast or accent;
- Angular / diagonal lines: may suggest tension or unease;
- Chaotic lines: may suggest a sense of agitation or panic;
- Underdrawing, structure lines or profile lines: describe form (larn more about contour lines in our article about line drawing);
- Curving / organic lines: may suggest nature, peace, movement or free energy.
What is the relationship betwixt line and three-dimensional form? Areoutlines used to ascertain course and edges?
Would it be advisable to use line in a like mode inside your own artwork?

Shape and class

Can you identify a ascendant visual language inside the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; gratuitous-flowing; varied; irregular; circuitous; minimal)? Why is this visual language advisable?
How are the edges of forms treated (i.due east. exercise they fade away or mistiness at the edges, as if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney^nine, practise they 'dissolve into sketchy lines, paint strokes or drips')?
Are there whatever three-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this touch the viewing of the work from different angles?
Is at that place a variety or repetition of shapes/forms? What result does this have (i.east. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; diversity may create visual interest or overwhelm the viewer with chaos)?
How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in scale or size; distracting or awkward junctions)?
Are silhouettes (external edges of objects) considered?

All shapes accept silhouettes, and vision research has shown that one of the beginning tasks of perception is to exist 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 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

Tin can you identify which forms are functional or structural, versus ornamental or decorative?
Have any forms been disassembled, 'cutting away' or exposed, such as a sectional cartoon? What is the purpose of this (i.due east. to explain construction methods; communicate information; dramatic effect)?
Would information technology be advisable to utilize shape and form in a like fashion inside your ain artwork?

Value / tone / lite

Has a broad tonal range been used in the artwork (i.due east. a broad range of darks, highlights and mid-tones) or is the tonal range express (i.e. pale and faint; subdued; dull; heart-searching and dark overall; strong highlights and shadows, with little mid-tone values)? What is the effect of this?
Where are the low-cal sources inside the artwork or scene? Is there a unmarried 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 sure time of day or dark; figures lit from the side to analyze form; contrasting background or spot-lighting used to accentuate a focal surface area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine cleaved by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and bear on; areas cloaked in darkness to minimize visual complexity; to heighten our understanding of narrative, mood or meaning)?

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

Are representations of 3-dimensional objects and figures flat or tonally modeled? How do dissimilar tonal values alter from one to the next (i.e. gentle, smooth gradations; abrupt tonal bands)?
Are there any unusual, cogitating or transparent surfaces, mediums or materials which reflect or transmit light in a special way?
Has tone been used to aid communicate atmospheric perspective (i.e. paler and bluer as objects get farther away)?
Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work announced 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 effect 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 catch the lite and/or create bandage shadows or pockets of shadow upon the artwork? How does this influence the viewer'due south experience?
How has tone been used to help direct the viewer's attention to focal areas?
Would information technology exist appropriate to use value / tone in a like way within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
Whichcolor schemes take been used inside the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; absurd/cold)? Has the creative person used a broad or express colour palette (i.e. diversity or unity)? Which colors dominate?
How would you draw the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; boring; muted; pale; subdued; bleached; diluted)?
Are colors transparent or opaque? Can you encounter reflected color?
Has color dissimilarity 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 effect 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 aeriform perspective; relationships with colors in surrounding surround; creating balance; creating rhythm/pattern/repetition; unity and diversity within the artwork; lack of colour places emphasis upon shape, detail and form)? What kind of temper do these colors create?

It is often said that warm colors (red, orange, yellow) come up forward and produce a sense of excitement (yellowish is said to suggest warmth and happiness, every bit in the smiley confront), whereas cool colors (blue, green) recede and have a calming effect. Experiments, however, accept proved inconclusive; the response to color – despite clichés about seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Brusk Guide to Writing Near Artⁱⁱ

Would it be advisable to utilize color in a like way within your own artwork?

Texture / surface / blueprint

Are at that place any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; crude; smoothen; 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 equally foliage or small stones; repeating patterns; decoration)?
How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating pattern creates rhythm; patterns broken create focal points; textured areas create visual links and unity betwixt split areas of the artwork; balance between detailed/textured areas and simpler areas; sleeky surface creates a sense of luxury; fake of texture conveys information about a subject, i.e. softness of fur or strands of pilus)?
Would information technology be appropriate to apply texture / surface in a similar way within your ain artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, centre-ground, background; overlapping of objects; use of shadows to ballast objects; positioning of items in human relationship to the horizon line; linear perspective – acquire more about one indicate perspective here; tonal modeling; relationships with adjacent objects and those in close proximity – including the human form – to create a sense of scale; spatial distortions or optical illusions; manipulating calibration of objects to create 'surrealist' spaces where true calibration is unknown)?
Has an unusual viewpoint been used (i.e. worm'due south view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the 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 information about a infinite than would commonly be seen)?
Is the emphasis upon mass or void? How densely arranged are components within the artwork or film airplane? What is the relationship betwixt object and surrounding space (i.e. compact / crowded / busy / densely populated, with niggling surrounding space; spacious; careful interplay between positive and negative space; objects amassed to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business organisation / visual clutter creates a feeling of chaos or claustrophobia)?
How does the artwork appoint with real infinite – in and around the artwork (i.eastward. self-contained; closed off; middle contact with viewer; reaching outwards)? Is the viewer expected to movement through the artwork? What is the relationship betwixt 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 be appropriate to use infinite in a similar way within your own artwork?

Utilise of media / materials

What materials and mediums has the artwork been constructed from? Have materials been concealed or presented deceptively (i.e. is there an authenticity / 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 apply; price; cultural significance; durability; availability; accessibility)? Would other mediums have been advisable?
Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners exercise non want the regurgitation of long, technical processes, but rather to see personal observations nigh how processes effect and influence the artwork in question. Would replicating role of the artwork assistance you gain a better understanding of the processes used?
Has the artwork been congenital in layers or stages? For example:
- Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;
- Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
- Graphic blueprint: brief > concepts > evolution > Photoshop > proofing > printing.
How does the use of media assistance the creative person to communicate ideas?
Are these methods useful for your ain projection?

Finally, remember that these questions are a guide but and are intended to make y'all kickoff to call back critically nigh the fine art you are studying and creating.

Pardo Thimen