# data[].attributes.headline
VCE Art Unit 3 / Area of study 1 synopsis

# data[].attributes.subject
VCE Art Unit 3 / Area of study 1 synopsis

# data[].attributes.body
Zine instructions/checklist

# data[].attributes.body
Various resources for zine research

# data[].attributes.attachment_link.readable_text
Artists books

Be inspired by examples of artists books held in the Library's Rare Books Collection.

Zines collection

The Library collects all forms of popular culture, including of course zines, comics and graphic novels. Find out more!

Research guide

For DIY tips, browse the Library's research guide to zines, graphic novels and more.

Exhibition partners

This exhibition is supported by the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians, and Creative Victoria.

Touring partner

Program partner

Media release

Plan your visit

The Self-made exhibition has been touring regional galleries since 2018.

Victoria

Audio extras

Go behind-the-scenes into the world of self-made publishing, and listen in as the creators of zines and artist books share their stories in our Audio extras.

Hear Laura MacFarlane, Bruce Milne and Janet Austin on fanzines; Marian Crawford and Adam Cruickshank on artist books; and Rob Jan and John Stevens on zines.

# data[].attributes.attachment_link.description
Be inspired by examples of artists books held in the Library's Rare Books Collection. The Library collects all forms of popular culture, including of course zines, comics and graphic novels. Find out more! For DIY tips, browse the Library's research guide to zines, graphic novels and more.

# data[].attributes.body
DISCLAIMER - Folio is from 2016 (previous study design). However, this provides an example of how to write using art language and terminology

# data[].attributes.attachment_link.title
2017 VCE ART SAT PROFESSIONAL LEARNING PACKAGE - FUSE - Department of Education & Training

# data[].attributes.attachment_link.description
This package is available for VCE Art teachers for the VCAA School Assessed Task Professional Learning day 2017.

# data[].attributes.body
Explore these for zine research

# data[].attributes.attachment_link.description
An art magazine is a publication whose main topic is art. They can be in print form, online, or both and may be aimed at different audiences, including galleries, buyers, amateur or professional artists and the general public. Art magazines can be either trade or consumer magazines or both.

# data[].attributes.attachment_link.description
The major and minor styles here provide an introduction to the developments in modern and contemporary art together with the participated artists.

# data[].attributes.headline
Video resources for research and investigation

# data[].attributes.subject
Video resources for research and investigation

# data[].attributes.body
Information on how to write a formal analysis

# data[].attributes.headline
The Art Assignment Video Resource // How to critique

# data[].attributes.subject
The Art Assignment Video Resource // How to critique

# data[].attributes.body
PBS's 'The Art Assignment' channel has a lot of useful resources in relation to historical art and contemporary art

# data[].attributes.attachment_link.title
How to Critique  | The Art Assignment | PBS Digital Studios

# data[].attributes.attachment_link.readable_text
Knowing how to write a formal analysis of a work of art is a fundamental skill learned in an art appreciation-level class. Students in art history survey and upper-level classes further develop this skill. Use this sheet as a guide when writing a formal analysis paper.Consider the following when analyzing a work of art. Not everything applies to every work of art, nor is it always useful to consider things in the order given. In any analysis, keep in mind the following: HOW and WHY is this a significant work of art?

Part I - General Information

1. In many cases, this information can be found on a label or in a gallery guidebook. There may be an artist's statement available in the gallery. If so, indicate in your text or by a footnote or endnote to your paper where you got the information.

2. Subject Matter (Who or What is Represented?)

3. Artist or Architect (What person or group made it? Often this is not known. If there is a name, refer to this person as the artist or architect, not "author." Refer to this person by their last name, not familiarly by their first name.)

4. Date (When was it made? Is it a copy of something older? Was it made before or after other similar works?)

5. Provenance (Where was it made? For whom? Is it typical of the art of a geographical area?)

6. Location (Where is the work of art now? Where was it originally located? Does the viewer look up at it, or down at it? If it is not in its original location, does the viewer see it as the artist intended? Can it be seen on all sides, or just on one?)

7. Technique and Medium (What materials is it made of? How was it executed? How big or small is it?)

Part II - Brief Description

In a few sentences describe the work. What does it look like? Is it a representation of something? Tell what is shown. Is it an abstraction of something? Tell what the subject is and what aspects are emphasized. Is it a non-objective work? Tell what elements are dominant. This section is not an analysis of the work yet, though some terms used in Part III might be used here. This section is primarily a few sentences to give the reader a sense of what the work looks like.

Part III - Form

This is the key part of your paper. It should be the longest section of the paper. Be sure and think about whether the work of art selected is a two-dimensional or three-dimensional work.

Art Elements

1. Line (straight, curved, angular, flowing, horizontal, vertical, diagonal, contour, thick, thin, implied etc.)

2. Shape (what shapes are created and how)

3. Light and Value (source, flat, strong, contrasting, even, values, emphasis, shadows)

4. Color (primary, secondary, mixed, complimentary, warm, cool, decorative, values)

5. Texture and Pattern (real, implied, repeating)

6. Space (depth, overlapping, kinds of perspective)

7. Time and Motion

Principles of Design

1. Unity and Variety

2. Balance (symmetry, asymmetry)

3. Emphasis and Subordination

4. Scale and Proportion (weight, how objects or figures relate to each other and the setting)

5. Mass/Volume (three-dimensional art)

6. Rhythm

7. Function/Setting (architecture)

8. Interior/Exterior Relationship (architecture)

Part IV - Opinions and Conclusions

This is the part of the paper where you go beyond description and offer a conclusion and your own informed opinion about the work. Any statements you make about the work should be based on the analysis in Part III above.

1. In this section, discuss how and why the key elements and principles of art used by the artist create meaning.

2. Support your discussion of content with facts about the work.

General Suggestions

1. Pay attention to the date the paper is due.

2. Your instructor may have a list of "approved works" for you to write about, and you must be aware of when the UALR Galleries, or the Arkansas Arts Center Galleries, or other exhibition areas, are open to the public.

3. You should allow time to view the work you plan to write about and take notes.

4. Always italicize or underline titles of works of art. If the title is long, you must use the full title the first time you mention it, but may shorten the title for subsequent listings.

5. Use the present tense in describing works of art.

6. Be specific: don't refer to a "picture" or "artwork" if "drawing" or "painting" or "photograph" is more exact.

7. Remember that any information you use from another source, whether it be your textbook, a wall panel, a museum catalogue, a dictionary of art, the internet, must be documented with a footnote. Failure to do so is considered plagiarism, and violates the behavioral standards of the university. If you do not understand what plagiarism is, refer to this link at the UALR Copyright Central web site: https://ualr.edu/copyright/articles/?ID=4

8. For proper footnote form, refer to the UALR Department of Art website, or to Barnet's A Short Guide to Writing About Art, which is based on the Chicago Manual of Style. MLA style is not acceptable for papers in art history.

9. Allow time to proofread your paper. Read it out loud and see if it makes sense. If you need help on the technical aspects of writing, use the University Writing Center (569-8343) or On-Line Writing Lab. https://ualr.edu/writingcenter/

10. Ask your instructor for help if needed.

Further Information

For further information and more discussions about writing a formal analysis, see the following. Some of these sources also give a lot of information about writing a research paper in art history, that is, a paper more ambitious in scope than a formal analysis.

M. Getlein, Gilbert's Living with Art (10th edition, 2013), pp. 136-139 is a very short analysis of one work.

M. Stokstad and M. W. Cothren, Art History (5th edition, 2014), "Starter Kit," pp. xxii-xxv is a brief outline.

S. Barnet, A Short Guide to Writing About Art (9th edition, 2008), pp. 113-134 is about formal analysis; the entire book is excellent for all kinds of writing assignments.

R. J. Belton, Art History: A Preliminary Handbook http://www.ubc.ca/okanagan/fccs/about/links/resources/arthistory.html is probably more useful for a research paper in art history, but parts of this outline relate to discussing the form of a work of art.

# data[].attributes.attachment_link.title
Guidelines for Analysis of Art - Department of Art and Design

# data[].attributes.attachment_link.description
Knowing how to write a formal analysis of a work of art is a fundamental skill learned in an art appreciation-level class. Students in art history survey and upper-level classes further develop this skill. Use this sheet as a guide when writing a formal analysis paper.Consider the following when analyzing a work of art.

# data[].attributes.headline
The Australian Centre for Contemporary Art

# data[].attributes.subject
The Australian Centre for Contemporary Art

# data[].attributes.body
Research resource

# data[].attributes.body
Research resource

# data[].attributes.attachment_link.title
Home - Centre for Contemporary Photography

# data[].attributes.attachment_link.description
Through exhibitions, education and publishing, Centre for Contemporary Photography (CCP) places contemporary Australian photography and video in conversation with significant historical and international practice, expanding the context for current Australian lens-based arts.

# data[].attributes.attachment_link.title
NGA Collection Simple|Advanced Search Screen

# data[].attributes.attachment_link.title
Art history News, Research and Analysis - The Conversation

# data[].attributes.attachment_link.description
Browse Art history news, research and analysis from The Conversation

# data[].attributes.body
Indigenous Australian art research resource

# data[].attributes.headline
The National Gallery of Victoria // Collection

# data[].attributes.subject
The National Gallery of Victoria // Collection

# data[].attributes.body
Resource for research

# data[].attributes.attachment_link.readable_text
The National Gallery of Victoria's permanent collection of more than 75,000 works is at the heart of the Gallery's activities and programs. Since its foundation in 1861, the Collection has come to span the history and development of Australian, Indigenous and international art, design and architecture. As it grows and evolves, the Collection embraces and reflects diversity in cultural identities, artistic practices and geographies as it connects art and people.

More than 30,000 images of works in the Public Domain are available to download at high resolution for free for publications and non-commercial use by clicking on the download icon.
Message on Aboriginal and Torres Strait Islander content

# data[].attributes.attachment_link.description
The National Gallery of Victoria's permanent collection of more than 75,000 works is at the heart of the Gallery's activities and programs. Since its foundation in 1861, the Collection has come to span the history and development of Australian, Indigenous and international art, design and architecture.

# data[].attributes.attachment_link.provider_name
BLINDSIDE | BLINDSIDE is an Artist Run Initiative based in Melbourne, Australia

# data[].attributes.attachment_link.description
BLINDSIDE would like to pay our respects to their Elders, past, present and emerging, to the Elders from other communities and to any other Aboriginal or Torres Strait Islanders who might encounter or participate in our program.

# data[].attributes.headline
Art Gallery of New South Wales collection

# data[].attributes.subject
Art Gallery of New South Wales collection

# data[].attributes.body
resource for research

# data[].attributes.attachment_link.description
The collections of an art museum such as those of the Art Gallery of NSW are enormously rich and varied. They are a fascinating barometer of the evolution of taste and style, and of changing social, cultural and even political values. They are also a definitive marker of the growth of an institution.

# data[].attributes.body
Resource for research

# data[].attributes.attachment_link.readable_text
Please consider
one of these ways
to support the Artchive:

Point101 offer fine art giclee printing
for artists - rated 9.8 out of 10.

ART POSTERS WELCOME PRIVACY POLICY JUXTAPOSITIONS GALLERIES
PATRON PROGRAM THEORY & CRITICISM ART CD-ROM REVIEWS ARTCHIVE LINKS

FundFirst Capital

# data[].attributes.attachment_link.description
Please consider one of these ways to support the Artchive: Point101 offer fine art giclee printingfor artists - rated 9.8 out of 10. ART POSTERS WELCOME PRIVACY POLICY JUXTAPOSITIONS GALLERIES PATRON PROGRAM THEORY & CRITICISM ART CD-ROM REVIEWS ARTCHIVE LINKS FundFirst Capital

# data[].attributes.body
Sourced from Gallenti-Smith, M. (2018). Staughton College

# data[].attributes.body
Sourced from Gallenti-Smith, M. (2018). Staughton College

# data[].attributes.body
Ideas for writing about artist personal and cultural influences

# data[].attributes.attachment_link.readable_text
Look for the plus icon next to videos throughout the site to add them here.

Save videos to watch later, or make a selection to play back-to-back using the autoplay feature.

The Artists Speak series is a collection of one-page artist biographies, themes, and activity ideas created around eleven of the artists featured in Seasons 2 and 3 of "Art in the Twenty-First Century." These were published in Educator magazines between 2005 and 2007.

To order back issues or a subscription to School Arts magazine, visit Davis Publications or call 1-800-533-2847.

Walton Ford, featured April 2007

Roni Horn, featured February 2007

Ida Applebroog, featured December 2006

Elizabeth Murray, featured November 2006

Matthew Ritchie, featured October 2006

Krzysztof Wodiczko, featured April 2006

Oliver Herring, featured in School Arts, February 2006

Josiah McElheny, featured in School Arts, January 2006

Arturo Herrera, featured December 2005

Hiroshi Sugimoto, featured November 2005

Susan Rothenberg, featured October 2005

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

# data[].attributes.attachment_link.description
Look for the plus icon next to videos throughout the site to add them here. Save videos to watch later, or make a selection to play back-to-back using the autoplay feature. The Artists Speak series is a collection of one-page artist biographies, themes, and activity ideas created around eleven of the artists featured in Seasons 2 and 3 of "Art in the Twenty-First Century."

# data[].attributes.headline
Representing Indigenous Australians in 19th Century Art

# data[].attributes.subject
Representing Indigenous Australians in 19th Century Art

# data[].attributes.attachment_link.title
Education resources for schools teachers and students - ABC Education

# data[].attributes.attachment_link.description
ABC Education has 4000+ educational games, videos and teaching resources for schools and students. Free Primary and Secondary resources covering history, science, English, maths and more

# data[].attributes.headline
NGA // Responding to Art interactive iBook

# data[].attributes.subject
NGA // Responding to Art interactive iBook

# data[].attributes.attachment_link.title
Responding to Art by National Gallery of Australia on Apple Books

# data[].attributes.attachment_link.description
Read a free sample or buy Responding to Art by National Gallery of Australia. You can read this book with Apple Books on your iPhone, iPad, iPod touch or Mac.

# data[].attributes.body
Behind the scenes access to contemporary artists studio practice

# data[].attributes.attachment_link.description
Art21’s Extended Play (formerly known as Exclusive) digital series provides unmediated, behind-the-scenes access to today’s leading artists. Through process-revealing footage and intimate interviews, these curatorially-driven films chronicle a diverse scale of international projects, ranging f…

# data[].attributes.body
Film series that involves contemporary artists in conversation with their peers

# data[].attributes.attachment_link.readable_text
Artist to Artist is an online film series featuring contemporary visual artists in conversation with their peers, discussing the inspirations and passions that drive their processes. Each film follows a single artist as he or she engages with other artists in a shared exhibition setting.

Launched with a premiere edition of three films featuring art biennials in Sharjah, United Arab Emirates; Venice, Italy; and Istanbul, Turkey, Artist to Artist allows artists to act as guides, sharing their curiosities and speaking with other artists who describe their work and ideas, in part demystifying large-scale international exhibition spaces.

Artist to Artist invites the viewer to witness intimate discussions and experience art in the context of a specific, and often remote, geographical location. From biennials and museum exhibitions to gallery shows and public projects, Artist to Artist captures cultural events from the rare viewpoint of an artist's perspective.

# data[].attributes.attachment_link.description
Artist to Artist is an online film series featuring contemporary visual artists in conversation with their peers, discussing the inspirations and passions that drive their processes. Each film follows a single artist as he or she engages with other artists in a shared exhibition setting.

# data[].attributes.attachment_link.description
Discover the artists of the latest season of Art in the Twenty-First Century

# data[].attributes.attachment_link.description
Use our A-Z glossary of art terminology to learn about art, painting and sculpture words, phrases and terms

# data[].attributes.attachment_link.description
Browse more than 4,000 artists represented in the Tate collection

# data[].attributes.attachment_link.description
An important aspect of being an artist is to develop your ideas so that you are confident in your own, personal approach. Of course, this is a never-ending process, but one of the best ways to make...

# data[].attributes.body
Step-by-step guide for students

# data[].attributes.attachment_link.readable_text
Last Updated on August 16, 2023

This article has been written for high school art students who are working upon a critical study 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 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 art analysis textbooks as well as from high school art teachers who have first-hand experience teaching these concepts to students.
COPYRIGHT NOTE: This material is available as a printable art analysis PDF handout. This may be used free of charge in a classroom situation. To share this material with others, please use the social media buttons at the bottom of this page. Copying, sharing, uploading or distributing this article (or the PDF) in any other way is not permitted.

Why do we study art?

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

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 explanation, evidence or justification.

'Analysis of artwork' does not mean 'description of artwork'. To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher order thinking - the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case - perhaps a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Cover a range of different visual elements and design principles. It is common for students to become experts at writing about 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 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 cover a broad range of relevant topics within their analysis.

Write alongside the artwork discussed. In almost all cases, written analysis should be presented alongside the 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 material with sketches, drawings and diagrams that help the student understand and analyse the piece of 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 artist studies.

Finally, when writing about 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 article about high school sketchbooks.

What should students write about?

Although each aspect of composition is treated separately in the questions below, students should consider the relationship between 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, dominance, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate meaning.

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 (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 addition to the formal analysis illustrated here):

Composition 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 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, but not a sculpture). The words provided as examples are intended to help students think about appropriate vocabulary to use 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 point for writing bullet pointed annotation or sentences in paragraph form.

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 it to be about.
- Terry Barrett, Criticizing Art: Understanding the Contemporary

Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; still life; fantasy; architectural)?

Are there any 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)?

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 learn from their pose (i.e. frontal; profile; partly turned; body language)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the way they are posed?

What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject? What is the effect of including these items within the arrangement (visual unity; connections between 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 you 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 two 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 be representational or abstract, and it can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and often recur throughout the life's work of an individual artist.
- John A. Parks, Universal Principles of Art

Does the artwork communicate an action, narrative or story (i.e. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set up or contrived?

Does the artwork explore movement? Do you gain a sense that parts of the artwork are about to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live performance 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 result 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 have (i.e. copyright concerns)?

Does the subject captivate an instinctual response, such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned - James Gurney writes more 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?

Do key objects or images have symbolic value or provide a cue to meaning? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

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

An iconography is a particular range or system of types of image 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; 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; calm; turbulent)? Which subject matter choices help to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?

Does the title change the way you interpret the work?

Were there any design constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to represent a specific subject, place or idea)?

Are there thematic connections with your own project? What can you learn from the way the artist has approached this subject?

Wider contexts

Supported by research, can you identify when, where and why the work was created and its original intention or purpose (i.e. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this background influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audience)?

Where is the place of construction or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to accommodate weather conditions / climate; built on historic site)? Was the artwork originally located somewhere different?

Which events and surrounding environments 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 work characteristic of an artistic style, movement or time period? Has it been influenced by trends, fashions or ideologies? How can you tell?

Can you make any relevant connections or comparisons with other artworks? Have other artists explored a similar subject in a similar way? Did this occur before or after this artwork was created?

Can you make any relevant connections to other fields of study or expression (i.e. geography, mathematics, literature, film, music, history or science)?

Which key biographical details about the artist are relevant in understanding 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 part of a larger body of work? Is this typical of the 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/or interpretation by critics?

How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORMAT

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; display constraints; design brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:3; or paper sizes such as 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 separate, such as within a diptych or triptych?

Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; intersecting; 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 it modified, moved or adjusted over time? What causes such changes (i.e. weather and exposure to the elements - melting, erosion, discoloration, decaying, wind movement, surface abrasion; structural failure - cracking, breaking; damage 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 afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are there stylistic variances between parts?

Is the artwork viewed from one angle or position, or are dynamic viewpoints and serial vision involved? (Read more about Gordon Cullen's concept of serial vision here).

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; human scale)? Is the artwork designed to be viewed from one vantage point (i.e. front facing; viewed from below; approached from a main entrance; set at human eye level) or many? Are images taken from the best angle?

Would a similar format benefit your own project? Why / why not?

Structure / layout

Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Can you draw a diagram to show 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 equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?

Does the artwork have 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)?

Can you draw 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 composition?

Could your own artwork use a similar organisational structure?

Line

What types of linear mark-making are shown (thick; thin; short; long; soft; bold; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What atmosphere, moods, emotions or ideas do 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 effect of these? Can you overlay tracing paper upon an artwork to illustrate some of the important lines?

Repeating lines: may simulate material qualities, texture, pattern or rhythm;

Boundary lines: may segment, divide or separate 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 one point of interest to another, rather than move smoothly or predictably along leading lines⁹. Lines may nonetheless help to establish emphasis by '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 suggest height, reaching upwards or falling;

Intersecting perpendicular lines: may suggest rigidity, strength;

Abstract lines: may balance the composition, create contrast or emphasis;

Angular / diagonal lines: may suggest tension or unease;

Chaotic lines: may suggest a sense of agitation or panic;

Underdrawing, construction lines or contour lines: describe form (learn more about contour lines in our article about line drawing);

Curving / organic lines: may suggest nature, peace, movement or energy.

What is the relationship between line and three-dimensional form? Are outlines used to define form and edges?

Would it be appropriate to use line in a similar way within your own artwork?

Shape and form

Can you identify a dominant visual language 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. do they fade away or blur at the edges, as if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney, do they 'dissolve 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 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?

Are forms designed with ergonomics and human scale in mind?

Ergonomics: an applied science concerned with designing and arranging things people use 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 explain construction methods; communicate information; dramatic effect)?

Would it be appropriate to use shape and form in a similar way within your own artwork?

Value / tone / light

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. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the effect of this?

Where are the light sources within the artwork or scene? Is there 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 time of 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 enhance our understanding of narrative, mood or meaning)?

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

Are representations of three-dimensional objects and figures flat or tonally modeled? How do different tonal values change from one to the next (i.e. gentle, smooth gradations; abrupt tonal bands)?

Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special way?

Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer as objects get further away)?

Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your interpretation of the work?

Are shadows depicted within the artwork? What is the effect of these shadows (i.e. anchors objects to the page; creates the illusion of depth and space; creates dramatic contrasts)?

Do 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 direct the viewer's attention to focal areas?

Would it be appropriate to use value / tone in a similar way within your own artwork? Why / why not?

Color / hue

Can you view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?

Which color schemes have been used within the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited color palette (i.e. variety or unity)? Which colors dominate?

How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?

Are colors transparent or opaque? Can you see 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 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 aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, detail and form)? What kind of atmosphere do these colors create?

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

Texture / surface / pattern

Are there any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; smooth; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture, such 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 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 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 information about a subject, i.e. softness of fur or strands of hair)?

Would it be appropriate to use texture / surface in a similar way within your own artwork?

Space

Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-ground, background; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective (learn more about one point 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 scale of objects to create 'surrealist' spaces where true scale is unknown)?

Has an unusual viewpoint been used (i.e. worm's view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the 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 separate spaces; provides more information about a space than would normally be seen)?

Is the emphasis upon mass or void? How densely arranged are components within the artwork or picture plane? What is the relationship between object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects clustered to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business / visual clutter creates a feeling of chaos or claustrophobia)?

How does the artwork engage with real space - in and around the artwork (i.e. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior space? What connections or contrasts occur between inside and out? Is it comprised of a series of separate or linked spaces?

Would it be appropriate to use space in a similar way within your own artwork?

Use of media / materials

What materials and mediums has the artwork been constructed from? Have materials been concealed or presented deceptively (i.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 use; cost; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?

Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners do not want the regurgitation of long, technical processes, but rather to see personal observations about how processes effect and influence the artwork in question. Would replicating part of the artwork help you gain a better understanding of the processes used?

Has the artwork been built in layers or stages? For example:

Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;

Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;

Graphic design: brief > concepts > development > Photoshop > proofing > printing.

How does the use of media help the artist to communicate ideas?

Are these methods useful for your own project?

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

Further Reading

If you enjoyed this article you may also like our article about high school sketchbooks (which includes a section about sketchbook annotation). If you are looking for more assistance with how to write an art analysis essay you may like our series about writing an artist study.
BIBLIOGRAPHY
[1] A guide for Analyzing Works of Art; Sculpture and Painting, Durantas

[2] A Short Guide to Writing About Art, Sylvan Barnet (2014) (Amazon affiliate link)

[3] Analysing Paintings, Matthew Treherne, University of Leeds

[4] Writing in Art and Art History, The University of Vermont

[5] Art History: A Preliminary Handbook, Dr. Robert J. Belton, The University of British Columbia (1996)

[6] Criticizing Art: Understanding the Contemporary, Terry Barrett (2011) (Amazon affiliate link)

[7] How to Look at Art, Susie Hodge (2015) (Amazon affiliate link)

[8] How to Look at a Painting, Françoise Barbe-Gall (2011) (Amazon affiliate link)

[9] Imaginative Realism: How to Paint What Doesn't Exist James Gurney (2009) (Amazon affiliate link)

[10] Art History, The Writing Centre, University of North Carolina at Chapel Hill

[11] Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing and Practicing Art, John A. Parks (2014) (Amazon affiliate link)

[12] Landscape and Visual Impact Assessment using CGI Digital Twins, Dr. Ben Guy, Urban CGI (2023)

# data[].attributes.attachment_link.title
How to analyze an artwork: a step-by-step guide for students

# data[].attributes.attachment_link.description
A list of questions to help high school students with sketchbook annotation, essay-based artist studies, or the critical study of art.