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Contemporary and Modern British Original Prints | Event. Hayletts Gallery in Association with the MinoriesSigned etchings, screenprints, lithographs and woodcuts by many of the most celebrated British artists for 1940’s to the current day.Artists include:- Gilian Ayres, Richard Bawden, Elizabeth Blackadder, Bernard Cheese, Mary Fedden, Terry Frost, Barbara Hepworth, David Hockney, Albert Irvin, Anita Klein, Karolina Larusdottir, Henry Moore, John Piper, Eric Ravilious, Paula Rego,Michael Rothenstein, Ralf Steadman, Graham Sutherland and Julian Trevelyan.

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Contemporary and Modern British Original Prints - The Minories 

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Contemporary and Modern British Original Prints - The Minories 

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Saturday 14 – Sunday 22 March 2026

10am - 4pm

74 High Street, Colchester, CO1 1UE

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Contemporary and Modern British Original Prints | Event

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Hayletts Gallery in Association with the Minories Signed etchings, screenprints, lithographs and woodcuts by many of the most celebrated British artists for 1940’s to the curre…

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Sue Webster: Birth of an Icon at Firstsite Gallery 

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Sue Webster: Birth of an Icon at Firstsite Gallery 

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Sue Webster: Birth of an Icon - Firstsite

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Defaced leather jackets, memorabilia, self-portraits, video, and installation - journey through a raw, and personal exploration of art, identity, and growing up different.

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Explore Rebecca’s distinctive vision of the contemporary world: the overload of digital life, the ecological crisis of waste, and our complex physical and bodily responses to these realities.

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3rd March - 3rd May

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Staverton Park at The Minories — The Arborealists

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Staverton Park Exhibition Project The Arborealists with Dr George Peterken OBE The Minories Gallery Colchester 5 March - 3 May 2026 Privately owned Staverton Park, of 240 acres and near Woodbridge in Suffolk, is one of the largest areas of ancient, pollarded oak trees in Europe. Of Saxon or

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Enoch's double self portrait in chalk and charcoal inspired by Barbara Walker

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What has your chosen artist inspired you to do?

What can you do to extend or develop the drawings/paintings/prints you have produced so far?

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Nick Bodimeade

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The rule of thirds

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Whether you're just learning how to draw and paint or are a pro composing a new piece, by following basic drawing and painting techniques and guidelines, such as the Golden Ratio, you'll be able to improve your art and design.

The rule of thirds - used frequently by photographers - states that if you divide any composition into thirds, vertically and horizontally, then place the key elements of your image either along these lines or at the junctions of them, you'll achieve a more pleasing arrangement and more interesting and dynamic compositions.

Painters and artists use the rule of thirds mostly for landscapes, but it also works for any subject matter, including still lifes, figures and even portraits.

The rule of thirds gives you a guide for placing focal points. If you design your focal points according to the intersections of any of the nine rectangles, your picture will have the counterbalance needed to make the composition more interesting and more compelling.

You can also design other elements in the picture to lead the eye from one of the focal points to the other, and use the corners to bring the viewer into the picture or keep the eyes moving back into picture again. This kind of eyeflow adds movement and life to any composition.

On this page, we'll look at how artists have used the rule of thirds to create dynamic compositions.

01. Origins of the rule of thirds

The rule of thirds is a compositional guideline. Its origins go back to classical and Renaissance paintings, but it is mostly known as a compositional tool used by photographers. This painting by Valentin de Boulogne shows how the main characters are all placed on the upper dividing line, creating a dynamic arrangement of figures.

02. The rule of thirds in landscapes

The rule of thirds is mostly known as a tool for composing landscapes. In this painting by Pierre Henri de Valenciennes, the horizon is placed in the lower thirds, and the large mass of mountains and scenery is placed in the left section, to create a more dynamic scene.

03. The rule of thirds for asymmetric compositions

The main function of the rule of thirds is to help create asymmetric compositions. If the elements in a picture are centred and too balanced, it becomes boring. If the images are offset using the rule of thirds, the asymmetry and counterbalance of elements creates a much more dynamic picture.

04. Place focal points with the rule of thirds

Another great way to use rule of thirds is to help place focal points. In this portrait painting, the eyes fall on the upper horizontal line and leads to the second focal point in the ear. Other points of interest such as the warm triangle of light also fall on an intersection of guidelines.

05. Guide eyeflow with the rule of thirds

Eyeflow is another great use of the rule of thirds. In this painting by Rubens, the main focal point of the boar is placed at an intersection. Secondary points of interest fall on intersections as well and the action of the poses lead the eye from one focal point or intersection to another.
Next page: How to use the rule of thirds in your artworks (in three quick demonstrations)

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Whether you're just learning how to draw and paint or are a pro composing a new piece, by following basic drawing and painting techniques and guidelines, such as the Golden Ratio, you'll be able to improve your art and design.

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Wednesday 7 January - Sunday 22 February 2026

10am - 4pm

74 High Street, Colchester, CO1 1UE

This exhibition celebrates the legacy of modernism in East Anglia through a curated selection of contemporary artists working in abstraction, with Margaret Mellis ' vibrant painting, 'Lilac Yellow,' (held in the Victor Batte-Lay Foundation Collection at the Minories) as a focal point. Mellis, who was born in China and raised in Scotland, immersed herself in the artistic movements of the time, particularly during her influential years in St Ives, Cornwall. Her interactions with prominent figures like Ben Nicholson, Barbara Hepworth and Naum Gabo shaped her artistic journey, as she explored the realms of colour and abstraction.

In addition to Mellis's work, the exhibition features a variety of artists who interpret abstraction in compelling ways. Simon Carter utilises loose, painterly techniques while Ian Boutell's careful compositions focus on flat colour planes. Liam Hennessy and Clare Iles enrich the exhibition with their innovative use of wood and found objects, mirroring Mellis' practice during her time later in life living in Suffolk.

Amanda Ansell and Ruth Philo interpret the world around them in contrasting ways, Ansell's work is a sweeping exploration of natural forms and colour, whereas Philo's work incorporates tessellation - mirroring shapes and patterns seen in contemporary and historical architecture. The soft nature of thread is challenged by the tight lines of Peter Collingwood's textile pieces.

Abstract artists often explore the relationship between two and three dimensions, sometimes creating almost optical illusions. Ron Sims' sharp shapes draw connections between abstraction and architecture, and Molly Thomson 's jutting canvases are a bridge between wall and space. John Plowman's 3D shapes reimagine the boundaries of drawing and space, inviting viewers to consider the dimensionality of abstraction in new ways.

Together, these artists reflect the enduring impact of modernism and its evolution in contemporary art. Through their diverse interpretations of abstraction, they continue to draw inspiration from Mellis' pioneering spirit, demonstrating a vibrant dialogue between past and present.

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This exhibition celebrates the legacy of modernism in East Anglia through a curated selection of contemporary artists working in abstraction, with Margaret Mellis' vibrant paintin...

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Colchester Art Society at 80, Firstsite 

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Colchester Art Society at 80, Firstsite 

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Colchester Art Society at 80 - Firstsite

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In celebration of Colchester Art Society’s 80th anniversary, be inspired by a rich display of British and local landscapes, everyday objects, and nature seen through the eyes of current members.

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Take a walk through the seasons at Crapes Fruit Farm in Essex in this immersive audio-visual exhibition by artists Hana Loftus and Maddie Persent.

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Monument to the Unimportant | Pace Gallery

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Pace is pleased to present a group exhibition bringing together sculptures, paintings, works on paper, and installation that each take the everyday object as a point of departure, revealing art’s enduring ability to transform the overlooked into sites of inquiry and visions of delight.

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homework 5 - working across a double page 

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homework 5 - working across a double page 

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a great example of responding to the work of an artist (student work on left with annotated examples by artist on right) 

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Do your own work (any medium) inspired by the  artist that you recently studied for your artist analysis. Your work doesn't have to be in exactly the same style, but you should be able to say in your annotations which aspect of the artist's approach has influenced you (composition/viewpoint, use of colour, concept etc)

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Homework - create interesting grounds and surfaces

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Homework - create interesting grounds and surfaces

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Homework 1 - an inspiration (mood) board 

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Homework 1 - an inspiration (mood) board 

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This first page is an example of an inspiration board on the starting point 'Coverings'. The student has made notes alongside artist images, expressing their developing ideas.

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How do we make sense of a world in constant change?

Discover how some of Britain's most influential artists, like Barbara Hepworth, Henry Moore, and L.S. Lowry, used colour, shape, and form to capture feelings, emotions, and experiences during a century of change.

Through world wars, the rise of industry, and huge social shifts, these artists turned to abstract art to make sense of the world around them.

Five decades of abstraction

Spanning the 1920s to the 1970s, trace the story of abstraction across five decades: from playful early experiments and Surrealist influences, to powerful responses to war, industry, and social upheaval.

Explore how some of the most influential British artists of the 20th century interpreted and influenced abstract art in response to the environments and times in which they lived.

What to expect

See 75 powerful works, 20 of which have been selected especially for Firstsite, drawn from The Wakefield Art Gallery Collection.

Experience rarely seen pieces shown alongside iconic works by Britain's most influential modern artists.

Among the highlights are works by Roger Fry, Emmy Bridgewater, Elizabeth Frink, Patrick Heron, Prunella Clough, Barbara Hepworth, Henry Moore, Duncan Grant, and L.S. Lowry, as well as East Anglian artists including Blair Hughes-Stanton, Edward Bawden and Keith Vaughan, and many more leading figures in British Modern art.

Through watercolour and oil paintings, sculpture, print and woodcut, explore themes of class, sexuality, psychological anxiety, and industry.

Get a fresh perspective on how abstraction offered comfort, meaning, and new perspectives during turbulent times.

Discover new insights into Britain's modern art story and how 20th-century cultural changes both shaped and were shaped by the artists of the time.

Why it matters today

Barbara Hepworth shared our mission to empower everyone to be creative, believing that 'the language of colour and form is universal and not reserved for a special class.'

Today, as we face our own unsettled times, Into Abstraction reminds us why art matters - offering meaning, connection, and, above all, hope.

Accessibility

As part of our mission to bring art and its benefits to all of the people of East Anglia, large print English guides are available in the gallery.

If you have specific accessibility needs or feedback, please email us at info@firstsite.uk. We're here to help and ensure your visit is enjoyable and welcoming.

Into Abstraction: Modern British Art and the Landscape is organised by The Hepworth Wakefield in collaboration with Firstsite.

Join our Mosaic membership and get more from your visit

Mosaic members get unlimited free access to all our film screenings, 20% off our event cinema screenings, 20% off our workshops and talks, 10% off in our café and shop. Plus you don't have to pay any ticket fees.

If you join as a Member + Guest you can share your member benefits with someone special too!

As a Mosaic member, you help support our community projects and events and keep our exhibitions free to everyone.

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Into Abstraction: Modern British Art and the Landscape - Firstsite

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Into Abstraction explores how some of Britain's most influential artists, like Barbara Hepworth and L.S. Lowry responded to a century of change.

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A Level CHECKLIST – PERSONAL CREATIVE ENQUIRY PROJECT

Refer to Padlet, emails and Teams for homework. Use this as a rough checklist – there is no guidance on quantity – to reach the standards required for each grade it is based on your knowledge and understanding of working methods informed by research into the work of other artists; your skill at using your chosen materials and techniques and the quality of your planning and reflections which includes reviewing and refining.

Initial visual research/demonstration of ideas Initial drawings in response to your earliest ideas based on your chosen theme. This section could include photographs, brainstorms etc.

Have I done this?

Am I happy with it?

How could it be improved?

What do I need to do?

Annotation of visual research Initial drawings in response to your theme.  Initial ideas are explained.

Have I done this?

Am I happy with it?

How could it be improved?

What do I need to do?

Observational Drawing – line drawing, tonal drawing. The same objects from different angles. Quick expressive drawings and sustained drawings. Have you reflected on these in your annotations?

Have I done this? Am I happy with it?

How could it be improved?

What do I need to do?

Observational work in colour

Have I done this?

Am I happy with it?

How could it be improved?

What do I need to do?

Artist inspiration – pages showing images by a least a couple of artists who have responded to the same theme as you

Have I done this?

Am I happy with it?

How could it be improved?

What do I need to do?

Exploration – this can be exploring different types of media, but you should also show you have explored the media you chose for your final piece. Have you reflected upon this in your annotation?

Have I done this?

Am I happy with it?

How could it be improved?

What do I need to do?

Development – development of studies and planning for final piece – consider composition/angles/scale/background/foreground etc. Compositional plans in whichever media is appropriate.

Have I done this?

Am I happy with it?

How could it be improved?

What do I need to do?

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Have you done enough planning or are there elements that you haven't practised or worked out yet?
Does your final piece connect to work in your sketchbook?
Have you made the best use of the skills you've developed in this project?

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Homework 10 - Do further larger studies - this time consider the background as well

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Homework 10 - Do further larger studies - this time consider the background as well

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Homework 10 - Work across two pages in your sketchbook for homework

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Enoch's double self portrait in chalk and charcoal inspired by Barbara Walker

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What has your chosen artist inspired you to do?

What can you do to extend or develop the drawings/paintings/prints you have produced so far?

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For your Personal Project you are being assessed on the following assessment objectives;

• develop ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding

• explore and select appropriate resources, media, materials, techniques and processes, reviewing and refining ideas as work develops

• record ideas, observations and insights relevant to intentions, reflecting critically on work and progress

• present a personal and meaningful response that realises intentions and, where appropriate, makes connections between visual and other elements.

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Responding to an artist - adding some annotation to explain your thinking

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Responding to an artist - adding some annotation to explain your thinking

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Drawing in ink

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Monotype: One-of-a-kind print, as opposed to a monoprint, which is usually printed in a series.  For instance, a print made from a stamp, is usually considered a monoprint.  A gelatin print is usually considered a monotype.

Balzer Designs: Mixed Media Collage Monotypes (typepad.com)

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Cantahar (1998) by Frank Stella. Lithograph, screenprint, etching, aquatint and relief on paper

New Princeton show reveals how Stella threw every reproductive process known to art into his printmaking
Frank Stella can hardly work within a medium without changing it. Some of his earliest canvases laid the groundwork for minimalism; his latest three-dimensional pieces push the limits of distinction between painting and sculpture; and his mid-career printmaking pushed the very envelope of that discipline too.

A new show, Frank Stella Unbound: Literature and Printmaking, opening 19 May at the Princeton University Art Museum, in New Jersey, takes a closer look at Stella's prints, showing a selection dating from 1984 - 1999, each produced for his literary themed series.

The thought of an abstract artist producing visual art works, based on famous stories, is odd enough. What's equally striking, however, is the way in which Stella plays around with collage, etching, computer rendering and metalwork to produce highly detailed, layered pieces that are about as far from a conventional linocut print as you can imagine.

Here's how the Museum describes Stella's creation of his Dictionary of Imaginary Places images.

"Stella evolved the compositions for the richly complex prints he made in response by creating collages that he cut, tore and layered together from myriad sources, including excerpts drawn from his extensive archive of printed proofs, computer renderings, industrial printing plates and found images reproduced from old pattern books," the Museum explains.

"Translated by Stella's studio collaborators at Tyler Graphics into dazzling combinations of mixed techniques, the Imaginary Places prints utilize nearly every reproductive process known to the history of Western art, printed on single sheets of handmade paper."

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You can actually watch Stella work on the series in this video. The artist shapes metal, layers paper, oversees digital scans. It's an incredibly complicated, technological process, and one that, in our new monograph, Stella credits with introducing him, almost accidentally, to technology that he would go on to use in subsequent paintings and sculptures.

To see those works in more detail, and understand how Stella came to create them, order a copy of our Frank Stella book here.

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The incredibly imaginative world of Frank Stella's prints

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New Princeton show reveals how Stella threw every reproductive process known to art into his printmaking

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see this powerpoint on colour theory

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Drawing in ink

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Responding to an artist - adding some annotation to explain your thinking

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Responding to an artist - adding some annotation to explain your thinking

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Jean-Michel Basquiat

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Nick Bodimeade

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The rule of thirds

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Whether you're just learning how to draw and paint or are a pro composing a new piece, by following basic drawing and painting techniques and guidelines, such as the Golden Ratio, you'll be able to improve your art and design.

The rule of thirds - used frequently by photographers - states that if you divide any composition into thirds, vertically and horizontally, then place the key elements of your image either along these lines or at the junctions of them, you'll achieve a more pleasing arrangement and more interesting and dynamic compositions.

Painters and artists use the rule of thirds mostly for landscapes, but it also works for any subject matter, including still lifes, figures and even portraits.

The rule of thirds gives you a guide for placing focal points. If you design your focal points according to the intersections of any of the nine rectangles, your picture will have the counterbalance needed to make the composition more interesting and more compelling.

You can also design other elements in the picture to lead the eye from one of the focal points to the other, and use the corners to bring the viewer into the picture or keep the eyes moving back into picture again. This kind of eyeflow adds movement and life to any composition.

On this page, we'll look at how artists have used the rule of thirds to create dynamic compositions.

01. Origins of the rule of thirds

The rule of thirds is a compositional guideline. Its origins go back to classical and Renaissance paintings, but it is mostly known as a compositional tool used by photographers. This painting by Valentin de Boulogne shows how the main characters are all placed on the upper dividing line, creating a dynamic arrangement of figures.

02. The rule of thirds in landscapes

The rule of thirds is mostly known as a tool for composing landscapes. In this painting by Pierre Henri de Valenciennes, the horizon is placed in the lower thirds, and the large mass of mountains and scenery is placed in the left section, to create a more dynamic scene.

03. The rule of thirds for asymmetric compositions

The main function of the rule of thirds is to help create asymmetric compositions. If the elements in a picture are centred and too balanced, it becomes boring. If the images are offset using the rule of thirds, the asymmetry and counterbalance of elements creates a much more dynamic picture.

04. Place focal points with the rule of thirds

Another great way to use rule of thirds is to help place focal points. In this portrait painting, the eyes fall on the upper horizontal line and leads to the second focal point in the ear. Other points of interest such as the warm triangle of light also fall on an intersection of guidelines.

05. Guide eyeflow with the rule of thirds

Eyeflow is another great use of the rule of thirds. In this painting by Rubens, the main focal point of the boar is placed at an intersection. Secondary points of interest fall on intersections as well and the action of the poses lead the eye from one focal point or intersection to another.
Next page: How to use the rule of thirds in your artworks (in three quick demonstrations)

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Whether you're just learning how to draw and paint or are a pro composing a new piece, by following basic drawing and painting techniques and guidelines, such as the Golden Ratio, you'll be able to improve your art and design.

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Last Updated on April 2, 2023

Students taking high school photography qualifications such as A Level Photography or NCEA Level 3 Photography often search the internet looking for tips, ideas and inspiration. This article contains over 100 creative techniques and mixed media approaches that Fine Art / Photography students may wish to use within their work. It showcases student and artist examples along with brief descriptions of the techniques that have been used. Approaches relate specifically to mixed media photography techniques, technical / trick photography ideas and interesting, fun or unique compositional strategies.

Note: The creative photography ideas listed in this article should not be explored haphazardly within a photography course, but rather selected purposefully, if appropriate for your topic or theme. These approaches may or may not be relevant for your own photography project and should be chosen only in conjunction with advice from your teacher. The techniques listed here are created using a range of different cameras and devices, such as a digital SLR/DSLR camera, traditional camera, pinhole camera and/or camera phone.

Wrap torn plastic or other materials around the edge of your camera to create hazy edges, as in the photographs of Jesse David McGrady (via PetaPixel):

Use a hand-held glass lens or prism, to create blurred, abstract forms, like this photograph by Sam Hurd:

Deliberately unfocus lights to create 'bokeh', as in this beautiful landscape by Takashi Kitajima:

Photograph scenes through visible hand-held lenses, as in this A Level Photography work by Freya Dumasia:

Abstract an image completely through three mirrors, creating a vortograph, like Alvin Langdon Coburn:

Fold a photograph and make a installation, still life or sculpture, as in this example by Joseph Parra:

Collage mixed media materials onto images, as in Vasilisa Forbes' photography:

Splash, smear or throw mixed media upon photographs, as in this A Level Photography sketchbook example by Jemma Kelly:

Simulate the effect of the wet collodion process used by Sally Mann via Edwynn Houk Gallery:

Paint developer sporadically onto photo paper to expose only parts of the work, as in these portraits by Timothy Pakron:

Paint directly onto photographs, as in these works by Gerhard Richter:

Combine paint and photographs digitally, like Fabienne Rivory 's LaBokoff project:

Redraw part of a scene with paint, as in these works by Aliza Razell:

Paint onto objects and then photograph them, as in this IGCSE Photography piece by Rachel Ecclestone:

Mark or scratch negatives or photos, as in this 100 year old vintage print by Frank Eugene:

Use a CNC or Laser Engraving Machine to etch a photographic image onto glass, wood, aluminium or another similar material:

As technology progresses, it is possible for digital images to be engraved upon various surfaces (such as stone, timber, fabric or leather); on or within glass, as in a 3D crystal engraving; or around cylindrical items, such as a rotating bottle. A laser is used like a pencil, with a controlled beam moving in different directions, intensities and speeds, delivering energy to the surface, heating up and vaporises areas or causing small pieces to fracture and flake away. Although the majority of laser photo engraving examples online seem to be uninspiring commercial shots, laser engraving offers new possibilities for high school Photography students - not just in terms of printing images onto exciting materials, but as a way of creating a textured plate which can then be printed from. It should be noted that although most high school Art Departments are not in a position to purchase a 3D laser engraving machine to experiment with (although this may change in the future) some Design and Technology Departments are beginning to. Many companies also offer a custom laser engraving service that students may make use of. Remember that those who must post work away for assessment are not able to submit heavy, bulky or fragile pieces (such as laser wood engraving or laser engraving on glass).
Use an ink transfer method to print photograph images onto other materials, as in this video by Crystal Hethcote:

This video shows a simple image transfer technique using gel medium, which could be useful for applying a digital image to any number of creative surfaces.
Add sculptural elements that protrude from the photograph, as in this example by Carmen Freudenthal & Elle Verhagen:

Take photos using a scanner, like Evilsabeth Schmitz-Garcia:

Place objects on top of a photograph and scan it, like this example by Rosanna Jones:

Put objects on top of photographs and rephotograph them, like these images by Arnaud Jarsaillon and Remy Poncet of Brest Brest:

Project images onto textured surfaces and rephotograph them, as in these experimental images by Pete Ashton:

Project images onto people or scenes, as in these examples by freelance photographer Lee Kirby:

Create a photogram, as in this example by Joanne Keen:

Create pinhole photography, making your own pinhole camera from scratch like Matt Bigwood (via The Phoblographer):

Note: some teachers purchase a make-at-home pinhole camera set for their students, such as this one from Amazon US or Amazon UK (affiliate links). Matt Bigwood 's DIY pinhole cameras are made from ordinary aluminium drink cans:

Deliberately overexpose a shot, creating 'high-key' photography, like this portrait by Gabi Lukacs:

Experiment with underwater photography like Elena Kalis:

Use a homemade light box to create uncluttered backdrops for photography, as in this YouTube video by Auctiva:

Art teachers and students frequently take photographs upon cluttered classroom tabletops, often with less than optimal lighting conditions. Light box photography can be especially useful in this situation, helping those who wish to create professional product shots (Graphic Design students creating promotional material, for instance) or those who want to photograph sculptural or design pieces, create composite works from several elements or just to have a simple backdrop for their images. Tabletop photography becomes infinitely easier when you can light a subject well, and capture true colour and details, in a reliable, uniform way. If you are looking for other less time-intensive tabletop photography ideas or backdrop ideas, it is possible to purchase inexpensive light box kits and light tents from Amazon.com and Amazon UK (affiliate links).
Experiment with camera filters, like the neutral density filter that was used to photograph this beautiful seascape by Salim Al-Harthy:

Use specialised photography lighting to achieve dramatic contrasts, as in this portrait of two brothers by dankos-unlmtd:

Use a transportable photography reflector (i.e. this one from Amazon.com or Amazom UK - affiliate links) to create better lighting within your shots, such as in this outdoor portrait by Toni Lynn:

Take unfocused shots and create semi-abstract photographs, like those by Bill Armstrong:

Create 360 degree 3D panoramic photography, as in this image by Nemo Nikt:

Use kites to create aerial photography, as in this image by Pierre Lesage:

Produce High Dynamic Range Imaging (HDR Photography), as in this example by Karim Nafatni:

Use tilt-shift photography to make real things look miniature, as in this example by Nicolas:

Use a tilt-shift effect to make paintings or drawings appear real, as in these photographs of Vincent van Gogh artworks by Serena Malyon:

Photograph things with extreme macro lenses, like these photos of water drops by Andrew Osokin:

Photograph things without contextual information, so objects become almost unrecognisable, as in this example by Peter Lik:

Take photos from uncommon or unexpected viewpoints, like these birds eye view photographs commissioned by the human rights organization Society for Community Organization:

Use frames within frames to create intriguing compositions, such as these photographs by Chen Po-I:

Emphasise reflections, rather than the objects themselves, as in the urban landscape photography of Yafiq Yusman:

Play with shadows, like Russ and Reyn Photography:

Create illusions using forced perspective, like these photographs by Laurent Laveder:

Arrange compositions as if they were a beautiful still life painting, such as these food photographs styled by Maggie Ruggiero and photographed by Martyn Thompson (left) and Marcus Nilsson (right):

Create candid documentary photography, like these emotion-filled black and white football fan shots by Christopher Klettermayer:

Capture the same scene at different times, as in this photography series by Clarisse d'Arcimoles:

Use mirrors to create illusions, as in this self-portrait by 18 year old photographer Laura Williams:

Create a complex 'unrealistic' setting and photograph it, as in this composition by Cerise Doucède:

Collect many similar items and produce typology photography, like Sam Oster 's apparatus series:

Organise subject matter into patterns, like Jim Golden:

Digitally create patterns, as in this artwork by Misha Gordin:

Overlay multiple photos from slightly different angles, like these experimental photographs by Stephanie Jung:

Digitally erase parts of objects, as in this A Level Photography work by Leigh Drinkwater:

Colour select areas, as in this example by Locopelli:

Apply a digital filter to create an illustrative effect, as shown in this Adobe Photoshop tutorial:

Digitally overlay textures onto photos, as illustrated in this tutorial by PhotoshopStar:

Digitally draw over photographs, as in these portraits by May Xiong:

Digitally superimpose photographs onto other products, as in these watches by John Rankin Waddell:

Digitally merge images to play with scale and create fantasy scenes like Lorna Freytag:

Combine objects in unexpected ways, to create something new, as in Carl Warner's foodscapes:

Overlay tracing paper, obscuring parts of an image, like this photograph by Gemma Schiebe:

Cut through photographs to expose other layers of photographs below, as in these images by Lucas Simões:
Note: If you are interested in laser cut work, you may wish to see the excellent A Level Art project by Lucy Feng, which has been featured on the Student Art Guide.
Create layered handmade collages, like these works by Damien Blottière:

Cut out shapes and insert coloured paper, as in these photographs by Micah Danges:

Collage photographs and found materials together, creating mixed media art like Jelle Martens:

Make a photomontage, as in these examples by David Hockney:

Make a photographic assemblage combining foreground, middleground and background, as in this example by Matthew Chase-Daniel:

Photograph a single scene over time and join the pieces in sequence, like these composite photographs by Fong Qi Wei:

Cut and Overlap a sequence of photos to create a sense of movement, as in this A Level Photography project by Harriet James-Weed:

Combine multiple exposures to create the illusion of repeated objects, like these creative compositions by Lera:

Superimpose two different but related scenes over the top of each other, like in this photograph by Adam Goldberg:

Photograph an artwork within a scene to create illusions, as in these images by Gregory Scott via Catherine Edelman Gallery:

Add photography cuttings to real life situations, like the surrealist scenes created by Yorch Miranda:

Inset scenes within other scenes, as in these photographs by Richard Koenig:

Poke or cut holes in photos and shine light through, like Amy Friend:

Photograph scenes through small gaps or holes, as in these photographs by Reina Takahashi:

Experiment with night photography and create a light painting or drawing, as in A Level Photography example by Georgia Shattky:
Note: If you are interested in light painting you may also wish to view this high school NCEA Photography project by Jessica Louise. Jessica uses a range of night photography techniques, including using a laser to paint with light.
Use a fast shutter speed to freeze motion, like the action photography of Justin Grant:

Move the camera horizontally, so a moving subject is in focus but the background is blurred, as in the panning photography of Mr Bones (via My Modern Met):

Use slow shutter speeds to create blurred movement, as in this beautiful water photo by Antti Viitala:

Zoom in while shooting with a slow shutter speed, like A Level Photography student Freya Dumasia:

Experiment with slow shutter speeds at night, blurring lights, as in the abstract 'Sightseeing Tunnel' series by Jakob Wagner:

Photograph slow moving objects over a long period of time, as in this photograph by Paul Schneggenburger:

Swing the camera while taking photos to achieve a swirling effect, as in this photo by Lucasbenc:

Shake or jiggle the camera to create an impressionist effect, like these examples by Gerald Sanders (via Apogee Photo Magazine):

This collection is a work in progress. It is continually updated with creative photography ideas and examples. If you are looking instead for photography theme ideas or project ideas for your entire high school or college photography course, please read our article about how to select a great subject or theme for your Art project.

You may also wish to view our collection of Featured Photography Projects by high school students from around the world.

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A collection of photography ideas, mixed media techniques and creative compositions to inspire photography students.

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Working across 2 pages of your sketchbook

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Working across 2 pages of your sketchbook

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David Hockney and his sketchbook

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How to do visual (formal) analysis in art history

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The Student Art Guide

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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)

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How to analyze an artwork: a step-by-step guide for students

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A list of questions to help high school students with sketchbook annotation, essay-based artist studies, or the critical study of art.

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Last Updated on April 2, 2023

Starting a new unit of work or responding to an exam question can be a daunting prospect for even the most confident of high school Art students. It is often difficult to ensure your work is totally original, especially if you have picked a theme that may already have been responded to lots of times before. It should be an exciting challenge to try and make work that is innovative and individual, but sometimes avoiding cliché can be difficult.

When your work is assessed, there isn't a box to tick that says you need to avoid the cliché in order to be successful. However, arts-based students should be aware that markers, assessors and university/college interviewers are likely to have seen countless portfolios containing similarly themed work. Those assessing your portfolio often become oversaturated seeing huge amounts of work, so it is important to stand out from the crowd. Your portfolio has to prove that you are skilled, alongside showing that you are an originator and innovator of ideas.

To help you avoid making cliché responses to a theme or exam question, this article looks at the artwork of A Level Photography student Ella Kasperowicz from Thomas Alleyne's High School. Her response to the 'Built Environment' question from the A2 AQA A Level exam paper was innovative, creative and meaningful. Ella was awarded full marks ( 100%) for both AS and A2 Photography and gained an A* grade overall.

The Built Environment is a theme that has been used exhaustively in the past. Students often think they have to interpret a theme in a million different ways and draw / photograph one unrelated thing after another, however this can result in disconnected and incoherent outcomes. The key to success in responding to any theme/question is to ensure that you experiment in lots of different ways, but spend time making important, discernible decisions about which ideas and techniques will be the best to develop into successful and meaningful outcomes. Ella's work has a lot of experimentation and, crucially, a confident and clear progression of development that answers the exam question while creating a personal response. Ella's work is made more individual through her incorporation and development of textiles with photography. The combination of creative disciplines enables Ella to make unusual responses to her ideas and convey meanings and messages that are sophisticated and individual.

Ella's initial photographs taken in response to the Built Environment (examples shown below) were shot in New York. The photographs, which were a logical and conventional start to the unit, changed entirely by the end of her project and were used as a means to carry challenging ideas and meanings concerning the changes in the built environment in New York post 9/11.

It can be difficult to create work that references serious global issues without being too blatant. Ella's headscarf/hijab and patchwork quilt (shown below) create a subtle and intriguing way of challenging the viewer to respond to the varying views surrounding 9/11 without directly using images that are too suggestive or offensive.

The patchwork quilt wasn't only selected as a means to incorporate textiles - it was relevant for its cultural significance. In many cultures, a patchwork quilt is used as an object/device for sharing stories and social history. By using the idea and symbol of the quilt, Ella was able to create an object of greater context and interest that was as much a document of social history as it was a piece of artwork to resolve her ideas.

In the images above and below, Ella recreated images of built environments out of photographs of hands layered into different positions. The handscapes form new environments which create a new potential and possibility for the viewer.

If you are starting a new high school Art project or want to avoid the cliché in your own artwork, the 9 steps below may help you avoid the obvious and create something original.

9 steps for avoiding the cliché in an Art project

1. Research common and cliché responses to the theme you intend to explore, so you know what to avoid in your own work.

2. Create an extensive moodboard and plan of different artist ideas and imagery to refer to as you develop your ideas. This is an essential part of the planning process and allows you to creatively combine research, inspiration images and annotated ideas together. Your moodboard and initial plan are also an effective way of showing examiners your initial ideas and thoughts.

3. Make the time to explore current artist work as well as traditional artist responses to a theme.

4. Have a broad research base and look on sites other than relying on Google to be your sole source of influence. Sites like Behance, Flickr and Carbonmade, Talenthouse, ArtServed etc are all continually updated and full of creative inspiration to get you inspired.

5. Look for successes in places that might be overlooked. Take the time to review your work by yourself and with others to target areas of development that you may have missed.

6. Don't just stop at one outcome. Think about how you can redevelop your work in other ways, which could push your ideas further and create a more individual response.

7. Keep an open mind when you develop your work - don`t try to force yourself too much in one direction. Be open-minded to new ideas and exploit these in your work. You will always be more personal and innovative if you can be free to develop your ideas on other tangents.

8. Remember that you can develop ideas in many different ways using unexpected mediums and processes. For example, photography students may approach image-making without a camera and think beyond the conventional photography. In Ella's case, textiles and craft skills were just as essential to the development of ideas as her initial photographs.

9. Be experimental... but always take the time to select the best media and techniques to further develop your work into the most meaningful outcomes.

An Interview with Ella Kasperowicz about her A Level Photography work
Were you concerned about making cliché work?
Ella: In a way yes; I like to be original and combine different elements of design in each project I do. Often I aim for my outcomes to be quirky and alternative so that there is little to compare them to, which I hope makes my work more interesting to look at.
What steps did you take to avoid making work on a theme that had already been done?
Ella: I was initially worried that the New York and 9/11 theme for my photography work had been overused, so instead of just focussing on the study trip I looked at how it affected me, linking my experience in America to home. My project thus is a reflection of my journey, making it personal to me. I also wanted to address how the 9/11 disaster predominantly led to unity of cultures, using Islamic, Japanese and Western components in my collage work. It was inspiring to me how people managed to still find hope in a time where a nation was broken. As well as conceptual originality, a combination of materials and unusual processes like waxed teabags, fabric printing and origami made my work a completely fresh interpretation of the theme.
What were you most pleased with?
Ella: Overall I was pleased with the connections that make seemingly completely different images fit together in the same theme - ideas like hope, repetition, architecture and comfort. Specifically I enjoyed the collage work and invention of the 'handscape' the most, and the way I was able to combine photography with applied art.

What did you do to finalise your project?

Ella: At the end of the project, I swapped all of the images and artist research in my mood board for my own images and analysis. It felt an adequate way to conclude the journey by showing the start point and end point in the same form.

What tips would you give to students before they respond to a unit of work?

Ella: I would say that you should go into a project with an open mind. If you know exactly what you want the outcome to look like before you start, then you don't give yourself the chance to explore and experiment with lots of different materials and techniques. I would also advise them to stock up on double sided sticky tape and befriend the suppliers of it!
Would you change anything differently if you had the chance to respond to the theme again?
Ella: In an ideal world I would have loved to have gone back to New York to take more photos! I used the trip as inspiration for the project and if I would have known I was going to take the approach I did I would have photographed paper cranes around the memorial, visited the memorial at night and asked people's opinions on the disaster whilst I was there.
A talented and driven student, Ella's portfolio was strong enough to allow her to gain direct entry to university, rather than taking a Foundation course first (this is a one year course taken by most Art students in the UK, prior to beginning a university degree). Ella is now studying an Illustration degree at one of the top universities in the UK for Photography and Illustration.

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How to Avoid the Cliché in a High School Art Project

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Starting a new unit of work can be a daunting prospect for even the most confident of high school Art students. Read how to avoid producing cliché artwork!

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Art Project Ideas: A Guide to Subject Matter Selection

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How to come up with an inspiring, original topic for your high school Art project (GCSE, IGCSE and A Level Art ideas from an experienced teacher and coursework assessor).

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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)

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How to analyze an artwork: a step-by-step guide for students

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A list of questions to help high school students with sketchbook annotation, essay-based artist studies, or the critical study of art.

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Curator Eleanor Nairne exposes how Basquiat’s multidisciplinary nature springs from his profound engagement with a broad range of source material, from trashy TV, to philosophy, to media representations of black experience.

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Jean-Michel Basquiat was an artist in the most plural sense. Commonly misunderstood as just a 'graffiti artist', or a painter, Basquiat was also a musician, DJ, actor and performance artist.

On the occasion of the Barbican's major Basquiat exhibition, which ran between September 2017 and January 2018, curator Eleanor Nairne exposes how Basquiat's multidisciplinary nature springs from his profound engagement with a broad range of source material, from trashy TV, to philosophy, to media representations of black experience.

Nairne unpicks some of the fertile references which feature in canvases by the pioneering prodigy of the 1980s downtown New York art scene. She discusses how Basquiat could have brought these disparate sources together to critique and shed new light on the world around him.

Could the webs of references which feature in Basquiat's works parallel our contemporary experience of the digital age?

Jean-Michel Basquiat was an artist working in the later part of the 20th century. He was born in Brooklyn, in 1960, and grew up against this cultural backdrop of this sort of post punk moment in New York. And he became this really extraordinary artist in the most plural sense, you know, he was a painter, he's become renowned as a painter, but he was also a musician, an actor, he was a DJ, he made work in almost every medium, and he's left a fairly indelible mark on our culture.

He was very explicit about needing to have source material around him. Even when you see filmed interviews with him, almost always in the background the soundtrack of some kind of Looney Tunes cartoon. He would watch everything from trashy TV, through to surrealist films like Luis Buñuel, he was interested in Japanese cinema.

[Interview with Basquiat]
'...An image of the moon, it's based on a drawing of the moon but it's an image of Pluto' 'What's this?' 'That's a copyright... so I won't get sued for using the word 'Pluto' by Walt Disney...'
[Archive footage of Summer Olympics, 1936]
'Jesse Owens was the fastest human of his day, and he took both the 200 and 100 metre titles. Here's his lightening like form as he captures the hundred metre in ten point three seconds, just a tenth slower than today's record.'
There's a fantastic painting which is about the black track and field athlete Jesse Owens.

Owens famously raced in the so-called Nazi Olympics in Berlin in 1936, and thwarted all of Hitler's ambitions. So there's information about Jesse Owens and his life, we see little Nazi swastikas, anatomical drawings that suggest that physical prowess, but we also have all of these mentions of Superman. And of course we know that Superman was a figure that Basquiat was really interested in, but we also might tap down a little bit more. Superman comes out in Action Comics in June 1938 and the developers, Joe Shuster and Jerry Seigel, very much intended it to be a kind of counterpoint the rise of the Übermensch in Europe. So we cannot definitively say that Basquiat intended for those two things to be connected, but we can drill down sufficiently to be able to understand that there are possible layers of meaning that might enrich our understanding of that work.

People often think of Basquiat as a graffiti artist, and the question stems from the fact that this is how he started out in 1978, with his high school friend Al Diaz: he takes to the street. They write these kind of intriguing and enigmatic statements on the city, a huge buzz builds up. The name 'SAMO' comes from them really laughing about the street jargon - you know 'how you doing?', 'Samo, samo,' which stood for 'same old shit'.

People became obsessed about who SAMO was. The obvious comparison we might think of is Banksy. To think that they're 17 years old, they're incredibly young. He's already playing with this question of how he should be treated, what are people projecting onto him, how he's read. It's clearly a very performative project.

He dropped out of school quite young, and that's often sullied our understanding of him because people have thought of him as this kind of ill-educated guy. When actually, he has one of the most sophisticated educations because he's teaching himself.

[Basquiat]
'I never went to an art school. I failed the art courses that I did take in school. I just looked at, I just looked at a lot of things. And that's what, that's what I think I learned about art, by looking at it.'
We know that he came from a cultured home in Brooklyn. They went to museums from a very young age, I think there's a sense that he felt that anything could belong to him, you know anything he could take it and find a way to make it useful for his work. He would write something off the back of a menu from a Chinese restaurant but he might put next to it a drawing taken from Galileo.

He knows how to pick these particular fertile words or references that almost feel like hyperlinks; they almost feel like these kinds of rabbit holes that can dive down and take you in all of these different directions simultaneously.

Jawbone of an Ass is a painting that's swarming with references. It has a very direct citation, which is to the King James Bible from the story of Samson: 'with the jawbone of an ass, heaps upon heaps, with the jawbone of an ass have I slain a thousand men'. There are these lists of names, all kind-of jumbled up together, ancient warriors, figures you might not have heard of... You have this pensive figure and above it, it's half scrawled out, and it's Rodin's thinker, which is of course, the icon for philosophy. And when you think about those two strands together, it paints this picture of 'the war of the mind', which is what the story of Samson is said to be about. In that sense, I think it's dealing with the collision of thought. The sense of simultaneity that we might have in our mind, you could have all of these different clashing ideas and images all occurring simultaneously. I think one of the reasons why we feel he is such a contemporary figure is because that's of course our primary experience of the digital age is that sense of the simultaneity of information.

Almost all of the work he made was about jazz, and within jazz, most of it about the great Bebop pioneers. We have a piece in which he takes this formidable silhouette of his head which he started to make around 1983, and he frames it. And on the one hand there are song titles from Thelonious Monk, and on the other is just the repeated name of Ben Webster. And you have this sense of what does it mean for him to frame his head amongst these heroes of jazz. Because the piece is hinged it almost feels like an altarpiece. It almost feels like these are kind of saintly heroic figures for him. There also seems to be a question of whether he too might be a star that shines bright but burns long. Often there is a kind of simmering politics within the work, and he's looking a lot at both kind of great black cultural achievement, he's wanting to celebrate these great Bebop pioneers. This was one of the limited spheres in the US where black celebrity was attainable.

[Basquiat]
'Black people are never portrayed realistically, or, not even portrayed in modern art.'
If you look at a piece like Hollywood Africans, you think at first that this is just about a time when he's spending with some friends on the West Coast but of course it also has things like at the top it says 'Hollywood Africans 1940'. And 1940 is the year in which the first African American wins an Oscar, an Academy Award. But it's Hattie McDaniel, and she wins it for the role of Mammy in Gone with the Wind.

[Hattie McDaniel]
'I sincerely hope that I will always be a credit to my race and to the motion picture industry, my heart is too full to tell you just how I feel. And may I say thank you'
On the one hand, is he celebrating this achievement? On the other hand, is he kind of betraying some degree of sadness that it might be for that role? Or is '1940' only meant to just be a reference to this great golden era of Hollywood? We will never know, and, in a way, that's part of what's so interesting about the way in which he samples from these different things.

He's both wanting to exonerate and celebrate the instances of great black achievement, but he's also wanting to tinge that with questions of what did it take to become this person, or to become this figure in history? We often feel that sadness.

[Interview with Basquiat]
'I don't know, I try to remain a little reclusive and not be just, and be out there, you know. To be brought down, you know, like they do to most of them.' 'Yeah, sometimes they can turn on you, can't they?' 'They always do, I can't think of one big celebrity person that they haven't done that to.' 'Do they turn on you?' 'Here and there, here and there'
So, there are many reasons that we might think the Basquiat remains so incredibly relevant today. His relationship to his identity - so, he saw identity as essentially a fictional construct - but there's also this question about how you assimilate the experience of all of this information around us, and being an engaged participant in that. So, drawing from everything in the world around you, and finding a way to turn it into some degree of meaning, some sense that that makes us feel like we need to act.
With thanks to...
Al Diaz

Barbican

The Estate of Jean-Michel Basquiat

Lee Jaffe

Marc H. Miller

Maripol

Stan Peskett
Archive
Academy of Motion Picture Arts and Sciences

Alamy

Bridgeman Images

Footage Farm

Getty Images

Henry Flynt

Illuminations

Inner-Tube Video

Open Culture

Pond5

The Walt Disney Company
Music
9 Lives Music

Audionetwork
Full list of images shown: Downtown 81
Dir. Edo Bertoglio, 2001

Prod. Maripol
Diagram of the Ankle
Jean-Michel Basquiat, 1982
State of the Art: Ep. 6 - Identity
Dir. Geoff Dunlop, 1987
Shooting Star
Dir. Geoff Dunlop, 1990

Jean-Michel Basquiat, 1985
Un Chien Andalou
Dir. Luis Buñuel, 1929

Jean-Michel Basquiat, 1983
Mickey Mouse and Pluto,
The Walt Disney Company, n.d.

Jean-Michel Basquiat, 1983

Jean-Michel Basquiat, 1983

The SAMO© Graffiti Portfolio

Henry Flynt, 1979-91

Clipping from SoHo Weekly News

5 October 1978

Courtesy of Al Diaz

' SAMO© Graffiti: BOOSH-WAH or CIA?'

Philip Faflick, Village Voice

11 December 1978, p.41
The Guy's Big Party
Canal Zone

Stan Peskett, 29 April 1979

Courtesy of Stan Peskett
Untitled (Pablo Picasso)
Jean-Michel Basquiat, 1984
Leonardo da Vinci, 1452-1519
Leonardo da Vinci

Pub. Reynal, 1966, p.439
Leonardo da Vinci's Greatest Hits
Jean-Michel Basquiat, 1982

Jean-Michel Basquiat, 1984
Jawbone of an Ass
Jean-Michel Basquiat, 1982

Jean-Michel Basquiat, 1986
Self-Portrait
Jean-Michel Basquiat, 1981
Untitled (Charlie Parker)
Jean-Michel Basquiat, 1983
Black Beauty, White Heat: A Pictorial History of Classic Jazz, 1920-1950
Pub. William Morrow and Company, Inc., 1982. p.46

Exhibition view, Basquiat: Boom for Real

Barbican, 2018
Hollywood Africans
Jean-Michel Basquiat, 1983
Self Portrait
Jean-Michel Basquiat, 1984
Jean-Michel Basquiat wearing an American football helmet
Edo Bertoglio, 1981

Courtesy of Maripol

Jean-Michel Basquiat, 1983
Jean-Michel Basquiat with Camera
Lee Jaffe, 1985

Courtesy of Lee Jaffe
Jean-Michel Basquiat (Series: Working, St Moritz, Switzerland)
Lee Jaffe, 1983

Courtesy of Lee Jaffe
Untitled (Jean-Michel Basquiat, Portrait)
Lee Jaffe, 1984

Courtesy of Lee Jaffe

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HENI Talks - Jean-Michel Basquiat: Post-Punk Prodigy

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How did the artist Jean-Michel Basquiat anticipate our experience of the digital? Curator Eleanor Nairne exposes how Basquiat's multidisciplinary nature springs from his profound engagement with a broad range of source material, from trashy TV, to philosophy, to media representations of black experience.

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You have art coursework and need to research artworks for it. Where do you start? How do you find relevant inspiration? How have other artists approached the themes?Our thematic coursework guides provide ideas and inspiration to get you started. Try our 'Have A Go!' section at the bottom of our guides for activities to keep you motivated!

# data[].attributes.attachment_link.description
You have art coursework and need to research artworks for it. Where do you start? How do you find relevant inspiration? How have other artists approached the themes?Our thematic coursework guides provide ideas and inspiration to get you started. Try our 'Have A Go!'

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How do we make sense of a world in constant change?

Discover how some of Britain's most influential artists, like Barbara Hepworth, Henry Moore, and L.S. Lowry, used colour, shape, and form to capture feelings, emotions, and experiences during a century of change.

Through world wars, the rise of industry, and huge social shifts, these artists turned to abstract art to make sense of the world around them.

Five decades of abstraction

Spanning the 1920s to the 1970s, trace the story of abstraction across five decades: from playful early experiments and Surrealist influences, to powerful responses to war, industry, and social upheaval.

Explore how some of the most influential British artists of the 20th century interpreted and influenced abstract art in response to the environments and times in which they lived.

What to expect

See 75 powerful works, 20 of which have been selected especially for Firstsite, drawn from The Wakefield Art Gallery Collection.

Experience rarely seen pieces shown alongside iconic works by Britain's most influential modern artists.

Among the highlights are works by Roger Fry, Emmy Bridgewater, Elizabeth Frink, Patrick Heron, Prunella Clough, Barbara Hepworth, Henry Moore, Duncan Grant, and L.S. Lowry, as well as East Anglian artists including Blair Hughes-Stanton, Edward Bawden and Keith Vaughan, and many more leading figures in British Modern art.

Through watercolour and oil paintings, sculpture, print and woodcut, explore themes of class, sexuality, psychological anxiety, and industry.

Get a fresh perspective on how abstraction offered comfort, meaning, and new perspectives during turbulent times.

Discover new insights into Britain's modern art story and how 20th-century cultural changes both shaped and were shaped by the artists of the time.

Why it matters today

Barbara Hepworth shared our mission to empower everyone to be creative, believing that 'the language of colour and form is universal and not reserved for a special class.'

Today, as we face our own unsettled times, Into Abstraction reminds us why art matters - offering meaning, connection, and, above all, hope.

Accessibility

As part of our mission to bring art and its benefits to all of the people of East Anglia, large print English guides are available in the gallery.

If you have specific accessibility needs or feedback, please email us at info@firstsite.uk. We're here to help and ensure your visit is enjoyable and welcoming.

Into Abstraction: Modern British Art and the Landscape is organised by The Hepworth Wakefield in collaboration with Firstsite.

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If you join as a Member + Guest you can share your member benefits with someone special too!

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Into Abstraction: Modern British Art and the Landscape - Firstsite

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Into Abstraction explores how some of Britain's most influential artists, like Barbara Hepworth and L.S. Lowry responded to a century of change.