Edge
Barnet, Sylvan 1993 A Short Guide to Writing about Art. 4th ed. New York: Harper Collins.
Kreutz, Greg 2006 Problem Solving for Oil Painters. Watson Guptil New York.
Aristedes, Juliette 2008 Classical Painting Atelier Watson Guptil New York.
Handbook for Studying in the Department of Theory of Art and Design , 2006 Faculty of Art and Design, Monash University, Melbourne.
Buser, Thomas 2006 Experiencing Art Around Us 2nd Edition Thomson Wadsworth.
Characteristics Notes
Subject Matter and Themes
What is my first response to the work? What is the subject matter? Are there any subthemes at work? When and where was the work made? Where would the work originally have been seen? What purpose did the work serve? What is the title? Does it help to illuminate the work? What is represented in this work? Is it a portrait? A landscape? An historical scene? A narrative? Why has the artist represented this subject? Is this a common or unusual subject for art? If it is a common subject has the artist represented it conventionally or atypically? Is the style of the artwork realistic, naturalistic, and /or referential?
Or is it geometric, idealized, and/or self-referential? (Hint: is it about itself or something else?) Describe the objective, “natural facts” about how the image is made (media and technique) and what it appears to be about. Underlying abstract idea? What could be eliminated to strengthen picture? Does the picture have a focus? Are unessentials subordinated? Does the painting read? Could you finish any part of the painting?
Composition
Medium
How does the composition assist (or not) in the interpretation of the work? Is the composition centric, formal, and/or symmetrical? Or is it dynamic, informal, and/or asymmetrical? Thirds, Armature of the Rectangle, What two Principles of Composition and Design are the most important to the success of this image? How do these two Principles organize our experience of the whole image? Colour and or light balance? Emphasis and point of interest?
What is it that you are examining? An oil, acrylic or water colour painting, an etching, lithograph or screen print, a bronze, marble or wooden sculpture, a colour advertisement in a magazine, a film still, a film, a multi-media work, an installation?
Line
Shape
Value
Light
How are lines used in this work? Do they define shapes; imply volume; suggest solids; express character or act decoratively? Is line used expressively or emotionally? Are the edges of the line sharp and distinct or blurred and unclear? What tools has the artist used to make these lines: pens, pencils, needles, crayons, pastels, paint brushes? Do the lines provide a sense of urgency, of motion, of agitation or serenity? Assist to read the painting? Is the palette organized? Is the painting surface too absorbent? Are you using the palette knife as much as you could? Painted lines instead of masses? Are the edges dynamic enough? Is there enough variation in the texture of the paint? Implied, lost or contour lines? Use of compositional lines?
Shape is an area set apart from another by an enclosing line, or by some other feature which sets it off, such as a change in texture or colour. Does the work contain organic, natural shapes; or geometric shapes? Are significant shapes soft, relaxed, curvilinear, or irregular, or are they hard, rigid and rectangular? Are the dominant shapes as strong and simple as possible? Are the shapes too similar? Simplicity is valued over clutter. What two Visual
Elements are most important to the success of this artwork? Why? How do they help us “read” the image? Do the shapes assist dimensionality? Figure /
Ground relationship?
Sharp edges usually mark the intended focus. Is the eye directed by sharp, diffuse and lost edges?
Could the value range be increased? Could the number of values be reduced? Can the image be read from a distance? Do values create mood and tone?
Do values contribute to the illusion of volume? Has the combination of these attributes created a compelling image? Is the value range truncated to good effect? How many value steps between darkest and lightest value? Values guide the eye in great art. Backgrounds are a quiet hierarchy of values.
How is apparent light used to reveal images and surfaces? Does the direction from which light appears to come appear natural or contrived, or is the lightsource ambiguous? How has the artist used darkness or shadow? Is the shift from light to dark areas gradual and subtle, or abrupt and dramatic? Has the artist used chiaroscuro to give the illusion of three-dimensionality? What is/are the light source (s) for the picture? Where does the light come from?
Is the subject effectively lit? Is the light area big enough? Would the light look stronger with a suggestion of burnout? Do the lights have a continuous flow?
Is the light gradated?

Colour
Depth
Space
How does colour contribute to the overall effect of the work? Is the range of colors significant? Does colour convey a mood, for instance? How is colour used to model surfaces and to produce a three dimensional effect? Are the colors naturalistic or more experimental? Is colour used symbolically or to evoke an emotion? What roles do primary, secondary, or tertiary colors play? Do any colors predominate – how and why? Is there a color strategy or scheme? Could purer color be used? Do the whites have enough color in them? Are the colors overblended on the canvas? Would the color look brighter of oversaturated into its adjacent area? Is there warm and cool values? Warm / Cool contrasts? Small anomalous colour area can draw full attention.
Opaque lights move towards the viewer. Sufficient value range? Transparency / Opacity? Use of texture? Unity, harmony or contrast?
Would the addition of foreground material deepen the space? Does the background recede far enough? Are the halftones properly related to the background? Does the picture use overlapping shapes or perspective to establish distance? Which shapes overlap? Which show diminishing scale? Do diagonal lines show recession? Are warm and cool colours employed? Sharp to hazy gradations? Top to bottom placement? Diminishing focus? Sharp – soft – lost edge hierarchy? Techniques - Figure vs. Ground, Modeling, Overlap, Reduction in scale (but remember exceptions to this convention),
Foreshortening, Atmospheric Perspective: "Blueing out", reduction of detail, reduction of value contrast, Vertical Perspective, Axonometric Projection,
Linear Perspective, Chiaroscuro, warm, cool contrast.
Overlap with Depth. Figure vs Ground - Use of negative shapes – Modeling – Overlap – Reduction in Scale – Foreshortening – Atmospheric Perspective –
Vertical Perspective – Axonometric Projection - Linear perspective – Aperture of Rectangle – Thirds - Balance (symmetry, asymmetry, radial)
Shadow
Form and
Solidity
Focal Point
Design
Is the underlying form being communicated? Is the symmetry in perspective? The surface of every form shifts in relationship to the light; shifting colour and value. Use of bunched values at lightest and darkest with full range halftones. Is form defined by color values, six to twelve? Are the forms true to life?
Does the shapes, colour and texture create rhythm, repetition or harmony. Is motion implied to direct the viewers attention?
The place where the lightest light and darkest dark meet is the principal focal point. What is the focus, or centre of interest of this picture? (hint: where do your eyes go first?) Where do your eyes go next, and how do they scan (explore) a path through the picture? Is the flow of light, colour and/or sharpness used to guide the viewer?
Dominance of main subject - element emphasis? Consistency and resemblance of visual elements? Rhythm of visual elements? Proportion - whole number ratios, golden section ratios? Scale - visual elements conform? Balance - left / right visual stimulation?
Artist’s
Intention
What is the artist sharing with you? Why did the artist make this image? Was it successful? Is the painting what the artist eye sees or what the Artist's mind knows?
Do the shadow shapes describe the form? Are the shadows warm enough? Cast shadows are usually darkest but warm in tone – often the complement colour of nearby objects. Transparent shadows fall away.