Content
Content is the formal and visual elements of the piece like color, shape, textures, medium, objects, composition, etc.
WHAT DO YOU SEE?
What is physically there?
(Don't talk about what you think it means here, just what you see)
Elements of Design: Line, Shape, Color, Texture, Value, Form, Space
Principles of Design: Balance, Contrast, Pattern, Emphasis, Unity/Variety, Movement, Rhythm
Other Things to Look For: Composition, Objects, People, Details, Text, Abstract Elements
Tip: Describe your artwork as if you were talking to someone who couldn’t see it
What do you physically see? (not what it means, just what is there)
Shapes, Colors, Style, Light, Composition, Lines, Medium, Tone, Textures, Size, Formal Elements
You can ask yourself what kind of object it is, what genre; if it represents something figuratively or abstractly, observing its overall style.
You can investigate the composition and the form: shape (e.g. geometric, curvilinear, angular, decorative, tridimensional, human), size (is it small or large size? is it a choice forced by the limits of the display or not?), orientation (horizontally or vertically oriented)
the use of the space: the system of arrangement (is it symmetrical? Is there a focal point or emphasis on specific parts ?), perspective (linear perspective, aerial perspective, atmospheric perspective), space viewpoint, sense of full and voids, and rhythm.
You can observe its colors: palette and hues (cool, warm), intensity (bright, pure, dull, glossy, or grainy…), transparency or opacity, value, colors effects, and choices (e.g. complementary colors)
Observe the texture (is it flat or tactile? Has it other surface qualities?)
You can analyze the study of light (chiaroscuro, tonal modeling, light sourcing, atmosphere)
or the type of lines (horizontal, vertical, implied lines, chaotic, underdrawing, contour, or leading lines)First of all, the medium must be investigated. What are these objects? Architecture, drawing, film, installation, painting, performing art, photography, printmaking, sculpture, sound art, textiles, and more.
What materials and tools did the artists use to create their work? Oil paint, acrylic paint, charcoal, pastel, tempera, fresco, marble, bronze, but also concrete, glass, stone, wood, ceramics, lithography…The list of materials is potentially endless, especially in contemporary arts, but it is also among the easiest information to find! A valid catalog or museum label will always list materials and techniques used by artists.
What techniques, methods, and processes are used by the artist? The same goes for materials, techniques are numerous and often related to the overall feeling or style that the artist has set out to achieve. In a critical analysis, it is important to reflect on what this technique entails. Do not overdo with a verbose technical explanation.
https://www.artlex.com/formal-art-analysis/
7 E L E M E N T S O F D E S I G N
FORM
The form of a work is its shape, including its volume or perceived volume. Three-dimensional form is the basis of sculpture. However, two-dimensional artwork can achieve the illusion of form with the use of perspective and/or shading or modeling techniques.
SHAPE
Shape refers to a 2-dimensional, enclosed area. Shapes could be geometric, such as squares, circles, triangles etc. or organic and curvaceous. Shape/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 Gurney9, 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? All shapes have silhouettes, and vision research has shown that one of the first tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism9 Are forms designed with ergonomics and human scale in mind? 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)?" Source
SPACE
Space is any conducive area that an artist provides for a particular purpose. Space includes the background, foreground and middle ground, and refers to the distances or area(s) around, between, and within things. There are two kinds of space: negative space and positive space. Negative space is the area in between, around, through or within an object. Positive space is the area occupied by an object and/or form. "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?" Source
VALUE
Value is the degree of lightness and darkness in a color. The difference in values is called contrast. Value can relate to shades, where a color gets darker by adding black to it, or tints, where a color gets lighter by adding white to it. 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 Leeds3 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?" Source
TEXTURE
Texture, another element of art, is used to describe how something feels or looks. e.g. her hair was smooth. Smooth is a texture, same as bumpy, hard, light, clear, rough and many more. "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)?" Source
COLOR
Color is the element of art that is produced when light, striking an object, is reflected back to the eye. There are three properties to color. The first is hue, which simply means the name we give to a color (red, yellow, blue, green, etc.). The second property is intensity, which refers to the vividness of the color. A color's intensity is sometimes referred to as its "colorfulness," its "saturation," its "purity" or its "strength." The third and final property of color is its value, meaning how light or dark it is. The terms shade and tint refer to value changes in colors. In painting, shades are created by adding black to a color, while tints are created by adding white to a color. "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?" Source
LINE
Lines and curves are marks that span a distance between two points (or the path of a moving point). As an element of visual art, line is the use of various marks, outlines, and implied lines during artwork and design. A line has a width, direction, and length. A line's width is most times called its "thickness." Lines are sometimes called "strokes," especially when referring to lines in digital artwork. I have also heard that a line is simply a point moving through space. "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?" Source
7 P R I N C I P L E S O F D E S I G N
BALANCE
Balance refers to the visual weight of the elements of the composition. It is a sense that the painting feels stable and "feels right." Imbalance causes a feeling of discomfort in the viewer.
Balance can be achieved in 3 different ways:
Symmetry, in which both sides of a composition have the same elements in the same position, as in a mirror-image, or the two sides of a face.
Asymmetry, in which the composition is balanced due to the contrast of any of the elements of art. For example, a large circle on one side of a composition might be balanced by a small square on the other side
Radial symmetry, in which elements are equally spaced around a central point, as in the spokes coming out of the hub of a bicycle tire.
CONTRAST
Contrast is the difference between elements of art in a composition, such that each element is made stronger in relation to the other. When placed next to each other, contrasting elements command the viewer's attention. Areas of contrast are among the first places that a viewer's eye is drawn. Contrast can be achieved by juxtapositions of any of the elements of art. Negative/Positive space is an example of contrast. Complementary colors placed side by side is an example of contrast.
PATTERN
Pattern is the uniform repetition of any of the elements of art or any combination thereof. Anything can be turned into a pattern through repetition. Some classic patterns are spirals, grids, weaves.
EMPHASIS
Emphasis is when the artist creates an area of the composition that is visually dominant and commands the viewer's attention. This is often achieved by contrast. "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?" Source
UNITY / VARIETY
You want your painting to feel unified such that all the elements fit together comfortably. Too much unity creates monotony, too much variety creates chaos. You need both. Ideally, you want areas of interest in your composition along with places for your eye to rest.
MOVEMENT
Movement is the result of using the elements of art such that they move the viewer's eye around and within the image. A sense of movement can be created by diagonal or curvy lines, either real or implied, by edges, by the illusion of space, by repetition, by energetic mark-making. "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)?" Source
RHYTHM
Rhythm is created by movement implied through the repetition of elements of art in a non-uniform but organized way. It is related to rhythm in music. Unlike pattern, which demands consistency, rhythm relies on variety.
OTHER THINGS TO LOOK FOR
Additional Questions from STUDENT ART GUIDE :
Objects?
Are there any recognizable 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)?
People?
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?
Props/objects/details?
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)?
Abstract Elements?
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?
Text?
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?
Size?
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)?
Frame?
How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?
Multiple Pieces to the Art?
Are different parts of the artwork physically separate, such as within a diptych or triptych?
Boundaries?
Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; penetrating; sprawling)?
Has the piece been modified over time?
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?
Scale/Format?
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?
System of Arrangement?
Has the artwork been organized 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?
Alignment and Positioning?
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)?
Axis of Symmetry?
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)?
Composition?
How do your eyes move through the composition?
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.
