Video lesson: https://www.youtube.com/watch?v=ztLseWvJgGg&pp=ygUbcHJpbmNpcGxlIG9mIGFydCBwcm9wb3J0aW9u

Video lesson 2: https://www.youtube.com/watch?v=nA3ptATxX2Y

Art Appreciation: Size, Scale, and Proportion> https://www.youtube.com/watch?v=pqklpUR6Gz8

https://drive.google.com/drive/u/0/search?q=visual%20analysis

https://www.youtube.com/watch?v=sM2MOyonDsY

https://docs.google.com/document/d/1dkUKzHf30N-LdMotm5wyrTZW-UsygukL/edit?usp=sharing&ouid=108297859813447015254&rtpof=true&sd=true

Assignment> Do a visual analysis of your own piece of art.

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.

COMPOSITION AND FORM
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; penetrating; sprawling)?
• Is the artwork site-specific or designed to be displayed across multiple locations
or environments?

• 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?

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 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?
• 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?

It is often said that warm colors (red, orange, yellow) come
forward and produce a sense of excitement (yellow is said to
suggest warmth and happiness, as in the smiley face), whereas
cool colors (blue, green) recede and have a calming effect.
Experiments, however, have proved inconclusive; the response
to color – despite clichés about seeing red or feeling blue – is
highly personal, highly cultural, highly varied. – Sylvan Barnet,
A Short Guide to Writing About Art2

• 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; 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.

Wondering how to analyze your own artwork? The questions above can be
applied to your own artwork. Critical analysis of your own artwork is something
that students should become very familiar with over the duration of an art and
design course.

For future use

How to use colored pencils https://www.youtube.com/watch?v=hhpQJkquioU

How to make your compositions better https://www.youtube.com/watch?v=te9Efr1VT9U