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ESP (English for specific purposes) - PowerPoint PPT Presentation

ESP (English for specific purposes)

Esp (english for specific purposes) & e-learning shu-chiao tsai ( ) ph. d in material sciences university of paris xi (orsay) – powerpoint ppt presentation.

• ????  1.???????????????  2.???????????????
•   3.???????????????
• (English for Specific Purposes, ESP)
• ?is well known as a learner-centered
• approach to teaching English as a
• foreign language -??????
• ?meets the needs of learners who need
• to learn English for use in their specific
• fields, such as business, science,
• technology, medicine, leisure, and
• academic learning. -????????
• There are some problems in the development of ESP course in Taiwan. (Lai, C. Y. (2005). A study on applied English department students needs for taking English for specific purposes courses and students perceptions of an effective ESP teacher. Master dissertation, Southern Taiwan University of Technology, unpublished. )
• (1) There is a lack of qualified ESP teachers who
• have pedagogical skills, real work experience,
• and knowledge. -??????
• (2) There is a lack of relevant curricula and
• materials that can reflect or meet the needs
• of industries so that students can get more
• practice and skills before entering the job
• -??????????????????
• In general, the features of courseware include
• ? Integration ???
• they include features of several media
• (audio, video, images, text, pictures
• and animated movies etc) to communicate
• learning information.
• ? Interaction ???
• they provide mutual communication
• between learners and the computer so that
• learners motivation and participation are
• the content features of courseware
• ? Familiarity ???
• they provide users with a user-friendly
• learning environment.
• ? Non-linearity ???
• they provide more resources and
• information for learners by hypermedia,
• and an on-line inquiry function is also provided.
• ? Simultaneity ???
• they provide latest developments or information for learners through the Internet.
• ? Virtuality ???
• they provide a virtual world that nearly
• looks like the real one through
• computers, which will promote learning
• interest and efficiency.
• Game type courseware or learning materials are designed to be interesting, motivating and involve the player in a purposeful activity to attain a goal or achieve a mission.
• ?????????????,??????????????????,???????? ???????????,??????????????????????
• ???? (Problem-solving Type)
• Problem-solving has been defined as higher-order cognitive process that allows learners to know how to proceed from a given state to a desired goal state.
• ?????????????????????,?????????,?????????? ?,??????????????,????????
• Integrative Learning
• Including all the features in the other types
• mentioned above, it also provides a learning management system to effectively record the learning course for learners or teachers reference.
• ????????????????????????????????????????? ????????????????????,????????????????????????????? ??,??????????
• 1.Courseware design
• Designing ESP courseware is a multi-
• disciplinary task, including
• ? English related to specific professions,
• ? information technology
• ? multimedia functions
• V. Conclusions Perspectives ?????
• The feature of the courseware is that it integrates professional knowledge with the basic skills of English learning. Included are vocabulary usage, pronunciation practice, speaking opportunities, translation practice, listening practice and writing exercises.
• ????????????????????????????????

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Psychologists at Harvard University using neuroimaging say they have resolved the century-old debate over the existence of Extra-Sensory Perception(ESP) - and it doesn't exist.

The research was led by Samuel Moulton, a graduate student in the department of psychology in the Faculty of Arts and Sciences at Harvard University with Stephen Kosslyn, John Lindsley Professor of Psychology at Harvard and was published in the Jan. 2008 issue of the Journal of Cognitive Neuroscience. The scientists used brain scanning to test whether individuals have knowledge that cannot be explained through normal perceptual processing.

"If any ESP processes exist, then participants' brains should respond differently to ESP and non-ESP stimuli," explains Moulton. “Instead, results showed that participants’ brains responded identically to ESP and non-ESP stimuli, despite reacting strongly to differences in how emotional the stimuli were and showing subtle, stimulus-related effects.”

Nearly half of the adults in the United States believe in the existence of ESP, which includes telepathy (direct knowledge of another person's thoughts), clairvoyance (direct knowledge of remote events), and precognition (direct knowledge of the future). People commonly report unexplained knowledge of a loved one's death or a telephone caller's identity, for example, and attribute this knowledge to paranormal mental processing.

The U.S. government lent credence to such claims when it revealed that it had spent millions of dollars recruiting and training psychic spies during the Cold War. Furthermore, research studies have been reported that appear to support the existence of ESP, including an influential series of experiments analyzed by psychologist Daryl Bem of Cornell University. These studies, however, gave little insight into the mechanisms -- normal or paranormal -- that produced the anomalous results. Perhaps more telling, others failed to replicate these results.

To develop a better test of ESP, the authors decided to develop a new method, which directly addressed the presumed source of ESP: namely, the brain. They argue that because the brain enables perception and stores information -- even events people don't consciously perceive or information they can't consciously remember -- it can offer a much more comprehensive test for ESP than self-report or behavior.

"The brain shows a suppressed response to stimuli that a person has seen before, even when those stimuli were presented subliminally, so the person wasn't consciously aware of having seen them; furthermore, it shows an enhanced response to stimuli that a person is expecting," says Moulton. "Because knowledge and expectation bias brain activation, neuroimaging offers us a uniquely powerful test of subtle perceptual or cognitive processes."

To study whether or not ESP exists, Moulton and Kosslyn presented participants with two types of visual stimuli: ESP stimuli and non-ESP stimuli. These two types of stimuli were identical with one exception: ESP stimuli were not only presented visually, but also were presented telepathically, clairvoyantly, and precognitively to participants.

To present stimuli telepathically, the researchers showed the photographs to the participants' identical twin, relative, romantic partner, or friend, who was seated in another room. To present stimuli clairvoyantly, the researchers displayed the photographs on a distant computer screen. And to present stimuli precognitively, the researchers showed participants the photographs again in the future.

Does this conclusively prove that ESP does not exist" "No," says Moulton. "You cannot affirm the null hypothesis. But at the same time, some null results are stronger than others. This is the best evidence to date against the existence of ESP. Perhaps most important, this study offers scientists a new way to study ESP that avoids the pitfalls of past approaches."

This research was supported by the Bial Foundation and the Richard Hodgson Memorial Fund.

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Roles Data curation, Formal analysis, Investigation, Writing – review & editing

• Fengfan Mao, 
• Jiefeng Zhou

• Published: June 11, 2024
• https://doi.org/10.1371/journal.pone.0305210
• Peer Review
• Reader Comments

This study presents a comprehensive needs analysis of English for Specific Purposes (ESP) courses in colleges of art and design in China. By examining the perspectives of undergraduate students, graduate students, art teachers, and English teachers, the research identifies consensus and divergence in ESP needs and implementation challenges. The analysis reveals a strong demand among students for specialized English learning, with a particular emphasis on receptive and interactive skills. However, there is a widespread acknowledgement of students’ difficulties across ESP skills, indicating a gap between student competencies and the professional demands, thus highlighting the need for targeted educational interventions to effectively address the difficulties. Notably, reading and writing abilities emerge as the most lacking skills. While there is unanimous recognition of the positive impact of ESP on students’ professional abilities and international competitiveness, a significant disparity exists in the enthusiasm for implementing ESP courses, paticularly with resistence from English teachers. The study highlights the critical challenges in ESP teaching, with teacher qualifications identified as the most prominent issue. Interestingly, English teachers attribute difficulties primarily to teaching materials, indicating a potential lack of readiness for ESP course delivery. A gap is also observed between teachers’ evaluations of student abilities and students’ self-assessment, especially among undergraduate freshmen, suggesting an overestimation of their English proficiency in professional contexts. The paper concludes with the implication that for effective ESP course implementation in colleges of art and design in China, targeted faculty development programs and a collaborative approach involving English teachers, art teachers, and professionals are essential. The collaboration should aim to develop materials that integrate specific professional knowledge with linguistic expertise. Additionally, a balanced approach combining general English proficiency and specialized English training is recommended to address both foundational and specialized language skills. Overall, the study underscores the need for targeted ESP courses in art and design education, tailored to bridge the gap between current proficiency levels and professional language requirements.

Citation: Mao F, Zhou J (2024) A needs analysis of ESP courses in colleges of art and design: Consensus and divergence. PLoS ONE 19(6): e0305210. https://doi.org/10.1371/journal.pone.0305210

Editor: Ali Derakhshan, Golestan University, ISLAMIC REPUBLIC OF IRAN

Received: November 6, 2023; Accepted: May 24, 2024; Published: June 11, 2024

Copyright: © 2024 Mao, Zhou. This is an open access article distributed under the terms of the Creative Commons Attribution License , which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Data Availability: All relevant data are within the manuscript and its Supporting information files.

Funding: This work was funded by the Education Research Project from Hubei Provincial Department of Education(Grant No. 2022401) and Education Research Project from Hubei Institute of Fine Arts. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript.

Competing interests: The authors have declared that no competing interests exist.

1. Introduction

As the global economy becomes increasingly interconnected and higher education shifts towards a more international orientation, there is an escalating demand for professionals who are not only experts in their field but also proficient in English. This trend is propelled by the growing need for specialized English skills across various professional domains. Consequently, English for Specific Purposes(ESP), a branch of English language teaching within applied linguistics [ 1 , 2 ], has gained significant traction. ESP is particularly focused on equipping students with the linguistic competences specific to their chosen professions, thereby enabling them to communicate effectively and excel globally in their respective fields [ 3 – 6 ]. In China, the trajectory of college English teaching has been progressively shifting from English for General Purposes(EGP) to ESP [ 7 – 10 ]. This shift reflects a broader trend observed in many countries where ESP is increasingly integrated into higher education curricula [ 11 – 14 ].

The most recent edition of Handbook for College English Teaching [ 15 ], a pivotal guideline for college English curriculum design in China, advises universities to develop distinctive English courses tailored to their specific needs. These courses are categorized into three groups: EGP, ESP, and cross-cultural communication. Within ESP, further subdivisions include English for Academic Purposes(EAP) and English for Occupational Purposes(EOP) [ 15 ]. EAP courses have seen considerable development in Chinese universities, as evidenced by the proliferation of textbooks on academic reading and writing, comparatively matured source of instructors [ 16 ], increased research in EAP [ 17 ], and the availability of online courses on major platforms such as UMOOCS and icourse163 [ 18 , 19 ]. However, ESP courses are still in their nascent stages, with uneven distribution across disciplines. This variability is attributed to diverse professional backgrounds and differing perceptions of ESP [ 20 ]. While mature ESP courses in China align with international trends, encompassing areas like English for Science and Technology, Business English, Legal English, Medical English, and Journalism English [ 18 , 21 ], the field of art and design has been relatively under-explored [ 22 ].

Against this backdrop, this study employs a needs analysis approach to identify specific requirements for ESP courses and the perceptions of relevant stakeholders that may influence their development in the domain of art and design. By utilizing a questionnaire, the research aims to uncover insights that can inform ESP course design in colleges specializing in art and design.

2. Literature review

Since its inception, ESP has been fundamentally oriented towards addressing the specific needs of learners. The concept of needs analysis is central to ESP, as it ensures the relevance and effectiveness of the course content [ 23 ]. Hutchinson and Waters and Harding emphasize that needs analysis is crucial in every ESP course design, typically marking the starting point in curriculum development [ 6 , 24 ]. Needs analysis encompasses the learners’ goals, current language proficiency, and the linguistic skills they need to develop, thereby ensuring that course content is precisely tailored to their specific requirements [ 25 ]. This review examines some of the most influential models for needs analysis in the field of ESP.

2.1 Munby’s target-situation-oriented approach

John Munby offers a systematic approach to needs analysis in language curriculum development [ 26 ]. Needs analysis is conceptualized as a mechanism to bridge the gap between the linguistic demands of specific social contexts and the learner’s capabilities. His framework emphasizes the importance of identifying target situations where language is used, characterizing these situations in terms of communicative activities, and defining the linguistic elements required for effective communication within these contexts. Munby introduces the ‘Communicative Needs Processor’ (CNP) to operationalize the analysis of learners’ needs by translating real-world communication demands into classroom syllabus objectives [ 26 ]. The strength of Munby’s approach lies in its detailed and structured method, which ensures that all relevant aspects of communication are considered when designing a syllabus tailored to specific needs. His work has been influential in highlighting the role of authentic, context-specific language use in syllabus design, advocating for curricula that reflect the realistic use of language in its social context.

However, despite its pivotal role, the CNP has faced critiques for its intricate parameters and a predominant focus on linguistic elements at the expense of considering the practical contexts in which language is employed. Critics like West [ 27 ] and Long [ 28 ] have pointed out its potential limitations in addressing the broader, contextual demands of language use.

2.2 Hutchinson and Waters’ learning-centered approach

While Munby’s CNP was groundbreaking, it also demonstrated the limits of a strictly language-centered approach to needs analysis. Hutchinson and Waters critique this approach by arguing that a deep understanding of both target and learning needs can enhance the relevance and effectiveness of ESP courses. They advocate for a balanced consideration of what learners will do with the language and how they will learn it, proposing a more learner-centered approach to course design [ 6 ].

Hutchinson and Waters expand on the concept of needs analysis in their work, emphasizing that it should begin with understanding why learners need English. Their model distinguishes between ‘target needs’ (what learners need to do in the target situation) and ‘learning needs’ (what learners need to achieve these goals). They further differentiate target needs into‘necessities,’‘lacks,’ and ‘wants’—categories that help educators understand not only the objective requirements of the target situation but also the subjective experiences and desires of the learners. This approach is lauded for its holistic view, integrating linguistic requirements with how language acquisition occurs, and has been applied widely to analyze data [ 14 , 29 , 30 ].

The frameworks developed by Munby, and Hutchinson & Waters have significantly shaped the ESP field. They highlight the complexity of needs analysis and the importance of integrating both target situation requirements and learner preferences into course design. This dual focus ensures that ESP programs are both relevant to the learners’ professional or academic contexts and responsive to their personal learning needs and motivations.

2.3 Dudley-Evans & St John’s multi-disciplinary approach

Dudley-Evans and St. John introduces a multi-disciplinary approach to needs analysis in ESP, emphasizing the iterative and cyclical nature of the process [ 5 ]. This perspective adds a dynamic component to the frameworks by Hutchison & Waters and Munby, highlighting the ongoing interplay between needs analysis and course evaluation. This concept aligns with modern pedagogical practices that prioritize adaptability and responsiveness to learner feedback and changing conditions.

This needs analysis model also elaborates on the broadening definitions of needs, incorporating objective, subjective, perceived, and felt needs, which are categorized into product-oriented(target situation analysis) and process-oriented(learning situation analysis) needs. This expansion allows for a more nuanced understanding of both the learners’ requirements in the target situation and their learning processes, addressing the criticism Munby faced for his somewhat rigid communicative needs processor.

Another significant contribution of this approach is the concept of ‘means analysis’, which focuses on the learning environment and acknowledges that the successful implementation of a course depends not just on the identified needs but also on the context in which the course operates.

This multi-disciplinary approach to needs analysis in ESP enriches the traditional frameworks by integrating continuous evaluation into the process, advocating for a broader understanding of needs that includes logistical and environmental considerations, and emphasizing the need for adaptability in course design and implementation. This approach effectively addresses the dynamic and often complex nature of language use and learning within specific professional or academic contexts.

2.4 Basturkmen’s comprehensive approach: Bridging gaps and integrating contextual realities

Basturkmen’s research offers a robust extension to the existing frameworks on needs analysis by emphasizing practical applications and integrating real-world educational challenges into the needs analysis process [ 31 , 32 ]. It focuses particularly on the operationalization of needs analysis in ESP course development, highlighting the dynamic interplay between theory and practice.

This approach emphasizes the necessity of continuous needs analysis that goes beyond pre-course assessments to include ongoing evaluations throughout the course delivery. This perspective aligns well with the multi-disciplinary approach but adds specific methods for integrating findings into course design in real-time, thus ensuring that ESP courses remain relevant and responsive to both learner and contextual changes.

A variety of analytical methods are introduced to perform needs analysis, including discourse analysis, present situation analysis, and teaching context analysis. These methods are designed to provide a holistic view of learners’ needs by not only focusing on the linguistic requirements but also considering the educational environment and the learners’ personal and cultural backgrounds [ 17 ]. This approach significantly expands upon earlier models by detailing how each component of the analysis can be practically applied to enhance ESP course development.

Basturkmen’s research enriches the existing literature on needs analysis by providing detailed, practical strategies for continuous assessment and adjustment of ESP courses. It extends the previous theoretical models by introducing a comprehensive suite of tools for analyzing and integrating the diverse needs of learners, thereby ensuring that ESP courses are both effective and adaptable.

2.5 Summary

Needs analysis has developed from simple teacher intuitions to sophisticated frameworks involving detailed empirical data and comprehensive theoretical underpinnings. This evolution reflects the growing complexity and specificity required in ESP to cater to diverse and changing learner needs effectively. It was initially a simple pre-course activity focusing mainly on target situation analysis. Over time, it has evolved into a sophisticated, multi-faceted procedure that encompasses the analysis of deficiencies, context, strategies and means [ 33 ]. It is not a static, one-time activity but a dynamic component of curriculum effectiveness; it should consider not only the immediate linguistic needs but also the sociopolitical, psychological and contextual conditions affecting learners. Data collection methods for conducting needs analysis involves interviews, observations, and questionnaires [ 21 ].

3. Theoretical framework

The theoretical framework for this research on needs analysis in colleges of art and design is a pre-course anlaysis, primarily anchored in the models provided by Basturkmen [ 32 ], as well as incorporating significant insights from Munby [ 26 ], and Hutchinson & Waters [ 6 ]. These models offer a comprehensive approach to understanding the specific linguistic, communicative, and contextual needs of learners in specialized settings.

Basturkmen [ 32 ] emphasizes a holistic approach to needs analysis that involves multiple layers of investigation: target situation analysis (TSA), present situation analysis (PSA), and teaching context analysis (TCA). These components are crucial for developing ESP courses that are both responsive to the learners’ current abilities and aligned with their future professional requirements.

Target Situation Analysis (TSA): This aspect of the needs analysis focuses on identifying the specific language and communication skills that students will need in their future professional contexts. It is essential for understanding what the end goals of the ESP course should be [ 26 ].

Present Situation Analysis (PSA): PSA assesses learners’ current language proficiency. It helps in identifying the gap between their present level of English and the level required for their professional needs. This analysis is vital for tailoring the ESP curriculum to address these gaps effectively.

Learner Factor Analysis (LFA): This considers the learners’ attitudes, motivations, and preferences in learning English. Understanding these factors is crucial for designing an ESP course that is engaging and effective.

Teaching Context Analysis (TCA): TCA examines the educational environment, including resources available, institutional support, teacher expertise and any constraints that might impact the delivery of the ESP program. This is particularly relevant in the context of art and design education, where the integration of language skills with artistic and design concepts can be challenging [ 14 ].

The framework for this study is shown in the diagram ( Fig 1 ). It integrates Hutchinson and Waters’ [ 6 ] distinctions between learners’ needs (TSA), wants (LFA), and lacks (PSA). This approach ensures that the course content is not only necessary for the learners’ future roles but also aligns with their personal aspirations and perceived needs, which is particularly relevant in creative fields like art and design.

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https://doi.org/10.1371/journal.pone.0305210.g001

By synthesizing these models, the theoretical framework for this study advocates for a comprehensive, responsive, and flexible approach to designing ESP courses in art and design colleges.

4. Research design

4.1 ethics statement.

This research, focused on investigating the specific needs of English for Specific Purposes(ESP) courses in colleges of art and design, is designed to uphold the highest ethical standards. The study is investigation-oriented and does not involve the disclosure of any personal information that could lead to the identification of individual participants, thereby posing no risks or ethical concerns. Participants were recruited on a volunteer basis, with the recruitment period spanning from May 20 th , 2023 to June 14 th , 2023. In the introduction part of the survey, participants were informed about the purpose of the study and assured of the anonymity of their responses. The statement clarified that participation was entirely voluntary, and respondents could terminate the survey without negative consequences; completion and submission of the survey were considered as implicit consent for the use of the provided data in future research publications. While formal written consent was not obtained, the procedure was in line with the ethical guidelines provided by the Research Office of the author’s institute, which formally confirmed on May 8 th , 2023 that ethical approval could be exempted for this study.

To further ensure ethical compliance, all collected data is treated with strict confidentiality. Responses are stored securely and are accessible only to the research team. Data analysis and reporting are conducted in such a way that individual participants cannot be identified, and findings are presented in aggregate form.

This approach to ethics in research reflects a commitment to protecting the rights and well-being of participants, ensuring the integrity of the research process, and contributing valuable insights into the field of ESP in art and design education.

4.2 Research respondents

Recent research about ESP emphasizes the integration of data from various stakeholders, including learners, teachers, governing bodies, sponsors and employers, current practitioners, domain experts, past students, etc to address the multifaceted nature of ESP teaching needs [ 34 ]. This study recognizes the importance of gathering data from a diverse range of sources for effective needs analysis in ESP and data is collected in accordance with the principles outlined by Dudley-Evans & St John [ 5 ] and Long [ 28 ], which mentioned that the main source of information for needs analysis are: (1) learners; (2)teachers and applied linguists; (3) professional experts.

This study investigates four distinct groups of respondents—art teachers, college English teachers, undergraduate freshmen, and graduate students, all from two colleges of art and design. As professional experts and practitioners, art teachers provide insights into the professional needs and expectations within the field of art and design. Their perspectives are crucial for understanding the specific language requirements and industry standards. College English teachers offer a deep understanding of English teaching methodologies, and are adept at analyzing linguistic features relevant to the target situation. They also provide valuable information on students’ proficiency levels and learning motivation, playing a key role as implementers of ESP teaching. The surveyed undergraduate freshmen come from various majors, including oil painting, watercolor painting, printmaking, Chinese painting, mural painting, ceramics, visual communication design, environmental art design, fashion design, fine arts, and animation, with approximately 20 students from each major. They offer a fresh perspective. Their diverse expectations for college English teaching, coupled with their lack of prior ESP learning experience, provide a unique viewpoint on initial language needs, motivation and preferences. The surveyed graduate students come from different majors mentioned above. With prior experience in ESP learning, graduate students can offer insights into the effectiveness of current ESP courses and suggest areas for improvement. Their feedback is instrumental in identifying gaps between the target needs and the learners’ present situation.

By investigating the attitudes and opinions of these four different groups towards ESP teaching, the study aims to better identify the discrepancies between target needs, learners’ present situation and learning environments. This comprehensive approach will contribute to making the ESP curriculum at art schools more targeted and effective.

4.3 Research questions

The specific research questions of this study are designed to thoroughly investigate the needs and challenges in ESP education in colleges of art and design, guided by Basturkmen’s comprehensive approach and informed by recent findings in ESP needs analysis. The research questions are as follows: (1) What are the specific target needs for English learning among students in colleges of art and design? (Target Situation Analysis) This question aims to identify the precise language skills and competence that art and design students require in their professional futures. (2) How proficient are art students in using English to address professional problems? (Present Situation Analysis)This question assesses the current level of English proficiency among art students, focusing on their ability to use English in professional contexts. (3) What are the perspectives of art teachers and students regarding the implementation of ESP teaching?(Learning Situation Analysis) This question explores the attitudes and opinions of both teachers and students towards ESP teaching, providing insights into their expectations and reservations. (4) What are the primary challenges and bottlenecks in ESP teaching within art schools? (Teaching Context Analysis) This question aims to identify the key obstacles and difficulties faced in the implementation of ESP courses, focusing on factors such as curriculum design, resource availability, and teacher preparedness. (5) What similarities and differences exist in the opinions of art teachers, English teachers, undergraduate students, and graduate students regarding ESP teaching? This question seeks to compare and contrast the views of different stakeholder groups, highlighting areas of consensus and divergence.

By addressing these research questions, the study aims to provide a comprehensive understanding of the needs and challenges in ESP teaching in art and design education, contributing to the development of more effective and targeted ESP courses.

4.4 Research methods

The research methodology adopted for this study involves a questionnaire survey, inspired by the framework designed by Cai Jigang and Chen Ningyang for surveying ESP education needs in research-oriented universities in Shanghai [ 35 ].

The questionnaire consists of 23 questions (see S1 File ), covering five key aspects: (1) Identification of respondents. Question 1 asks respondents to identify their group: undergraduate freshmen, graduate students, art teachers or English teachers. This categorization is crucial for analyzing data based on different perspectives. (2) Art professional development needs. Questions 2–6 explore the specific needs of ESP for art professional development. This section is designed to understand the target situation needs of students and teachers in the art and design context. (3) Current ESP competence: Questions 7–11 survey students’ present ESP competence. This part assesses the present situation analysis, focusing on the existing English skills of the students. (4) Opinions on ESP teaching: Questions 12–19 investigate the opinions of four different groups on ESP teaching. These questions aim to gather diverse perspectives on the learning situation analysis, including attitudes and motivations towards ESP. (5) Teaching situation and challenges: Questions 20–23 investigate the current teaching situation and main problems in ESP teaching. This section is aligned with the teaching context analysis, identifying challenges and bottlenecks in the current ESP teaching framework.

The questionnaire was reviewed by two experts prior to the data collection. Both had at least seven years of ESP teaching experience and 15years of EGP teaching experience in colleges of art and design. They were provided with a copy of the questionnaire to review all questions, make changes, and add or delete relevant items. The questionnaire was originally in Chinese for better clarity and understanding because all respondents are Chinese. For improved readability, a bilingual edition of the questionnaire is provided in the S1 File .

4.5 Data collection and analysis

This survey successfully collected a total of 515 valid questionnaires, comprising 227 from undergraduate freshmen(UF), 226 from graduate students(GS), 28 from art teachers(AT), and 34 from college English teachers(ET). The questionnaire utilizes a Likert 5-point scale (5 = strongly agree; 4 = agree; 3 = uncertain; 2 = disagree; 1 = strongly disagree) to gauge respondents’ attitudes and perceptions. The original collected data is available in the S1 Table , ensuring transparency and facilitating further analysis or replication of the study’s findings.

For data analysis, the study employed SPSS statistical software. The proportions and means of each option for each question were calculated. The analysis involved counting the number of respondents who generally agreed or disagreed, excluding those who were uncertain. Given the non-normal distribution of the results, non-parametric tests were used to examine the statistical differences between groups. When differences were not apparent, t-tests were conducted for pairwise group comparison to glean more detailed data. Additionally, paired t-tests were utilized to analyze the differences between questions.

After the data collection phase, Cronbach’s coefficients were calculated to ensure the instrument’s internal reliability. The instrument had an internal reliability coefficient of 0.918, and the reliability for the four aspects were satisfactory, as indicated in the following table ( Table 1 ).

https://doi.org/10.1371/journal.pone.0305210.t001

5. Analysis and findings

5.1 art professional development needs.

Table 2 reveals consistent recognition of the importance of ESP skills among the four groups—undergraduates, graduate students, art teachers, and English teachers—in professional development contexts in art and design education. Notably, there is a high level of consensus on the necessity of developing listening and reading skills, with average agreement rates of 87.30% and 86.95% respectively. These findings underscore a generally shared view on the essential nature of these skills across various professional roles within the field of art studies.

https://doi.org/10.1371/journal.pone.0305210.t002

Consensus on Receptive Skills: The uniform agreement on listening and reading indicates a widespread acknowledgment of these competencies as foundational for professional success in the arts. Despite the absence of statistically significant differences across groups (p-values were above the 0.05 threshold for these questions), the high agreement rates suggest a universal curriculum focus that these areas continue to demand within art and design education.

Divergence in International Exposure: A significant finding emerges from Question 6 regarding the demand for study tours and further education abroad. The analysis shows a high H-value of 24.118 with a p-value of 0.000**, highlighting significant disparities among the groups. Art teachers and English teachers particularly value these opportunities, viewing them as crucial for professional growth and international exposure. In contrast, students, particularly undergraduates and graduates, exhibit considerably lower enthusiasm. This divergence might reflect varying perspectives on the immediate relevance or financial feasibility of international experiences for students.

Productive Skills: The overall agreement rate for the necessity of written skills is the lowest at 64.69%, with no significant difference between the four group, indicating least perceived demand for this skill. The overall agreement rate for the necessity of oral communication skills in English was 72.47%. However, postgraduate students displayed a notably lower level of agreement (p = 0.017*) for oral communication skills, suggesting distinct needs or perhaps a different evaluation of the importance of these skills in their professional development. This variance could be attributed to the specific academic and career stages of postgraduate students, who might prioritize reading over oral skills. The distinct needs of postgraduate students regarding oral communication point towards a potential need for curriculum adjustments or additional support tailored to their specific professional trajectories.

The analysis in Table 3 utilizes paired t-tests to compare the mean scores representing perceived necessity for various ESP skills: reading, listening, writing, oral communication, and studying abroad. These tests are crucial in determining significant differences between pairs of skills, highlighting how respondents prioritize different aspects of their professional development.

https://doi.org/10.1371/journal.pone.0305210.t003

Receptive vs. Productive Skills: A significant difference was observed in Pair1(T = -4.414, p < 0.001**), with reading English literature and articles being rated as slightly less urgent than attending courses and lectures by foreign scholars. This suggests that while both skills are valued, there might be a slightly greater immediacy or applicability perceived in direct interaction with experts through courses. A substantial difference in Pair2 (T = -10.812, p < 0.001**) indicates that attending courses is considered significantly more important than writing in English. This result may reflect a stronger emphasis on gaining knowledge and insights from external experts than on producing written content, possibly due to the immediate benefits of interactive learning experiences.

Comparative Analysis of Productive Skills: No significant difference was found in Pair3 and Pair4, suggesting a relative parity in the perceived importance of writing and speaking, and a comparative valuation between producing written content and gaining international experience. A significant difference in Pair5 (T = -2.855, p = 0.004**) highlights that studying abroad is viewed as more crucial than engaging in oral communication. This result underscores the high value placed on international exposure and experiences over local communication skills, possibly due to the unique opportunities and broader perspective gained through such experiences.

The analysis indicates a differentiated approach to the urgency and importance of various ESP skills, with a general trend favoring interactive and receptive skills over productive ones. The significant emphasis on international experiences and attending lectures suggests that opportunities for direct engagement with global experts and contexts are highly valued, reflecting an understanding of their transformative potential in professional development.

5.2 Analysis of students’ current ESP competence

Table 4 presents the evaluation of students’ ESP competence by the four groups, with the assessment focusing on students’ abilities in listening, reading, speaking, writing, and reading strategies in understanding specialized content.

https://doi.org/10.1371/journal.pone.0305210.t004

General Difficulties Across ESP Skills: Significant difficulties were reported across all skills, with high agreement percentages indicating challenges in listening (72.87%), speaking(84.09%), reading(85.66%), reading strategies(89.99%) and writing (85.74%). These results suggest a universal need for support in developing these critical ESP skills.

Specific Challenges in Reading and Writing: The highest recorded difficulty was in reading original textbooks and professional literature, as indicated by an average agreement of 89.99%. This was closely followed by challenges in writing, with an equal average difficulty rating of 85.74%. Both areas showed the highest demand for enhanced teaching approaches, reflecting significant challenges in both comprehension and production of specialized English content.

Statistical Analysis of Skill Gaps: Significant differences in the assessment of students’ skills were evident across different professional contexts and educational levels. For instance, the assessment of listening to professional lectures (Question 7) highlighted a profound disparity (p = 0.000**), suggesting varying perceptions of students’ ability to engage with foreign academic content effectively. Slow reading speeds (Question 8) and difficulties in professional oral communication (Question 9) also exhibited significant variances (p = 0.017* and p = 0.014* respectively), pointing to substantial challenges that are recognized differently among the groups.

Writing and Reading Professional Literature: Concerns regarding students’ writing abilities and their methods for reading professional literature (Questions 10 and 11) were notably pronounced among art and English teachers. This heightened awareness might reflect the teachers’ closer engagement with and higher expectations for students’ academic performances in professional settings.

The analysis above underscores a critical need for targeted educational interventions to address the widespread difficulties observed across key ESP skills. The significant disparities in the perception of these difficulties suggest that while students may not fully recognize their skill gaps, teachers are acutely aware of them, particularly in higher-level competencies such as writing and reading specialized texts. This insight calls for a strategic focus on developing curricula that enhance both receptive and productive language skills, with a particular emphasis on reading and writing.

The t-test results in Table 5 indicate significant differences in the evaluation of ESP skills—specifically in listening, reading, speaking, and writing—between undergraduate freshmen and graduate students. The results highlight that graduate students, with their advanced exposure to ESP contexts, tend to have a more acute perception of the challenges associated with ESP skills compared to undergraduates. This awareness is not merely a reflection of increased proficiency but also of an enhanced understanding of the complexities inherent in academic and professional English usage. This differential perception between the groups highlights an essential aspect of ESP education—awareness and acknowledgment of linguistic challenges grow with exposure and experience, suggesting that ESP curricula should be adaptive and responsive to students’ evolving educational contexts.

https://doi.org/10.1371/journal.pone.0305210.t005

5.3 Opinions on ESP teaching

Table 6 evaluates the consensus among undergraduate students, graduate students, art teachers, and English teachers on the role of ESP in professional development.

https://doi.org/10.1371/journal.pone.0305210.t006

ESP’s Role in Professional Competence: There is a high consensus (89.44% agreement) that ESP enhances students’ international communication skills and competitiveness (Question12), and that ESP contributes to competitiveness in further studies and future employment (89.26% agreement in Question13), indicating widespread recognition of ESP’s career-enhancing benefits.

Comparison of ESP and General English: A significant majority (76.16% agreement, p = 0.034* for Question14) believe ESP is more effective than general English in improving language skills, reflecting a preference for specialized training that directly aligns with professional needs. With 75.88% agreement and a significant difference (p = 0.003**) observed among groups(Question15), respondents recognize ESP as a more motivating approach than general English. This suggests that the relevance of ESP to students’ professional interests may enhance their engagement and learning outcomes.

Necessity of a General English Foundation: Despite the focus on specialized training, 82.57% of respondents(Question 16) agree that a solid general English foundation is necessary before studying ESP. This highlights an understanding of the importance of core language skills as a basis for specialized learning.

Adequacy of General English for Professional Needs: Only 50.27% believe that general English can meet professional communication needs(Question 17), indicating that many see general English as insufficient for specialized contexts. This lower agreement underscores the necessity for ESP courses that address specific professional language requirements.

Curriculum Recommendations: There is a strong consensus on the need for a balanced curriculum that includes both cultural and practical language skills (81.11% and 80.45% agreement respectively for questions 18 and 19). However, there are significant differences among the groups (p-values near 0.05 for both questions), suggesting diverse opinions on how much emphasis to place on cultural versus practical aspects of English teaching.

The data in Table 6 reflects a strong endorsement of ESP’s role in enhancing professional skills and international competitiveness. However, the significant differences among respondent groups in their evaluations of ESP’s effectiveness in various aspects suggest that experiences and expectations can influence perceptions of ESP’s value. The recognition of the need for a general English foundation, coupled with the call for more specialized courses, indicates a comprehensive approach to English education that addresses both foundational skills and specific professional requirements.

Table 7 provides a detailed t-test analysis evaluating differences in perceptions among undergraduate students, graduate students, art teachers, and English teachers regarding the effectiveness of ESP. The analysis highlights the varying degrees of recognition and agreement about the role of ESP in professional and academic contexts.

https://doi.org/10.1371/journal.pone.0305210.t007

ESP’s Role in Enhancing International Competence: Art teachers show a significantly higher level of recognition of ESP’s role in enhancing students’ international communication and competitiveness compared to English teachers, graduate students and undergraduate freshmen (p = 0.007**, p < 0.001** for Question12). This could suggest that art teachers, often engaged in more globally connected disciplines, recognize the critical value of specialized English in international settings.

Effectiveness of ESP vs. General English: There is a significant difference in perceptions regarding the effectiveness of ESP over general English in enhancing language proficiency. Graduate students, with more direct experience in ESP, affirm its benefits more strongly than undergraduate freshmen(0.022* for Question14) and English teachers(p = 0.023*), who may prioritize foundational English skills. The motivation aspect shows significant differences, with graduate students and art teachers finding ESP more motivating than English teachers and undergraduate freshmen do (Question 15). This suggests that the relevance of ESP to professional and creative fields may increase student engagement and enthusiasm for learning.

Curricular Integration of ESP: English teachers show significantly lower agreement rates regarding the inclusion of more specialized English courses alongside general education (p = 0.030* and p = 0.035* for Questions 18 and 19, respectively). This difference indicates a more conservative or traditional view among English teachers about integrating specialized English into the curriculum.

The analysis in Table 7 underscores significant inter-group differences in perceptions of ESP’s role. Art teachers and graduate students, who are likely more exposed to the direct applications of specialized English, recognize its benefits more distinctly than English teachers. This divergence in views suggests varying experiences with and expectations from specialized English training across different educational roles.

5.4 Teaching situation and challenges

The non-parametric tests conducted in Tables 8 and 9 provide insight into the commonalities and differences in perceptions regarding the challenges encountered in ESP education, indicating systemic issues in ESP education.

https://doi.org/10.1371/journal.pone.0305210.t008

https://doi.org/10.1371/journal.pone.0305210.t009

Faculty Qualifications (Question 20): A notable consensus exists that the lack of qualified teachers is a major challenge in ESP teaching, with an average agreement rate of 73.49%. However, art teachers particularly highlight this issue, with a significantly higher agreement rate of 89.28% and significant differences with the other three groups(p = 0.035*, 0.012*, 0.020* in Table 9 ), suggesting that within their discipline, the quality of teaching staff is perceived as a critical barrier to effective ESP education and this is possibly due to the specific demands of integrating art and language learning which require highly specialized skills.

Textbook Quality (Question 21): Concerns about the adequacy of ESP textbooks are widespread, with an average agreement rate of 76.03%. English teachers, in particular, express a higher level of concern (85.3% agreement), indicating a strong belief that the quality and relevance of educational materials are pivotal for ESP teaching effectiveness.

Conceptual Mindset (Question 22): The challenge of changing educational mindsets towards ESP teaching is recognized, with an average agreement rate of 74.54%. English teachers again report higher concern (79.42% agreement), which may reflect difficulties in integrating innovative ESP approaches within traditional language teaching frameworks.

Student Proficiency (Question 23): The low English proficiency of students is acknowledged as a significant impediment to ESP teaching, with an overall agreement rate of 74.64%. Art teachers and English teachers indicate substantial concern about this issue, with lower agreement rates reflecting perhaps greater expectations or observations of insufficient language skills impacting specialized learning.

The data from Tables 8 and 9 indicates a shared perception among all groups that teacher qualifications, textbook quality, resistance to new educational paradigms, and student language proficiency are significant barriers to effective ESP teaching. This widespread concern implies a need for systemic reforms in ESP teacher training, curriculum development, textbook quality, and student language preparation. The particularly high concern among art teachers about faculty qualifications could suggest a demand for more specialized training within their fields, likely due to the specific language requirements of art-related disciplines. The heightened sensitivity of English teachers to textbook quality and mindset changes suggests they may see these factors as directly impacting the adaptability and success of ESP programs. Their focus on foundational language skills might also explain their concern over student proficiency as a primary challenge.

Table 10 employs paired t-tests to analyze the relative severity of various challenges encountered in ESP teaching. In the analysis presented, teacher issues are highlighted as significantly more critical than other challenges in ESP teaching when compared to textbook issues, student proficiency issues, and conceptual issues, demonstrating statistically significant differences with respective p-values of 0.033*, 0.011*, and 0.001**. This finding suggests that deficiencies in teacher training and qualifications may directly hinder the delivery of quality ESP instruction more so than limitations in textbooks, student proficiency, or educational mindsets. The lack of significant differences among textbook quality, conceptual challenges, and student proficiency implies a perceived uniformity in their impact on teaching effectiveness. This suggests that while important, improvements in these areas alone may not suffice without addressing the more critical teacher issues.

https://doi.org/10.1371/journal.pone.0305210.t010

6. Discussion

The investigation into the needs analysis of ESP courses in colleges of art and design has elucidated a multifaceted view of the consensus and divergence among key educational stakeholders—undergraduate freshmen, graduate students, art teachers, and English teachers. The results depict a nuanced landscape of needs, perceptions, and challenges that influence ESP teaching and learning in these specialized fields.

6.1 Consensus on the role and challenges of ESP

The study underscores a strong consensus across all respondent groups about the pivotal role of ESP in bolstering students’ international competitiveness and enhancing their professional capabilities. The high agreement rates documented suggest a universal recognition that ESP is superior to general English in not only improving language proficiency but also in engaging students more deeply in their learning processes. This consensus supports the integration of specialized English into curricula to better prepare students for global professional demands, affirming findings in the literature that emphasize the need for context-specific language instruction [ 36 – 38 ].

While there is a strong general consensus on the value of ESP in enhancing professional capabilities and competitiveness, there is a widespread acknowledgement of students’ difficulties across ESP skills, indicating a gap between student competencies and the professional demands of the art and design fields. This study highlights the critical need for targeted educational interventions to effectively address the difficulties identified.

Moreover, there is an unanimous recognition of the significant challenges encountered in teaching ESP. These challenges span from faculty qualifications and teaching materials to student proficiency and conceptual understanding. Critically, teacher-related issues emerged as the most pronounced barriers, as evidenced by significant differences in perceptions particularly noted among art teachers. This finding is consistent with scholarly discussions that stress the importance of qualified and well-prepared instructors in the effectiveness of language teaching [ 39 ]. This likely explains the significant increase in research on teachers’ professional development over the past decade, which mirrors practitioners’ aspirations to enhance both their classroom competencies and their academic identities [ 40 ].

6.2 Divergences in perceptions

Despite widespread agreement on several fronts, the analysis also revealed notable divergences in perceptions, particularly between art teachers and other educational groups. Art teachers uniquely emphasized faculty issues more than their counterparts, likely reflecting specific disciplinary needs where effective ESP teaching requires not only language proficiency but also a deep understanding of artistic concepts and terminology. This perspective is indicative of the specialized demands of art-related disciplines that may not be as pronounced in more general educational settings. Addressing this issue requires targeted professional development programs that equip teachers with the necessary skills to bridge the gap between language and content in art and design education.

Conversely, English teachers were particularly concerned with the quality of teaching materials, indicating a belief that the effectiveness of ESP teaching is heavily reliant on the availability of high-quality, relevant educational resources. This finding resonates with evidence from ESP research indicating that ESP teachers require substantial support in terms of materials and professional development [ 37 ]. This divergence underscores the varying emphases placed on different aspects of ESP program delivery, which may influence the prioritization of resources and training in different departments.

The role of general English as a foundation for specialized English also highlighted divergent views. While there was a general consensus on the necessity of a solid general English background, views on its sufficiency for professional communication were mixed, echoing debates in ESP education regarding the balance between general and specialized language training [ 41 ]. The varied perspectives on this issue suggest that while foundational English skills are critical, they may not fully meet the specific linguistic demands of professional fields, thus necessitating tailored ESP courses.

6.3 Implications and future directions

The findings from this study suggest several implications for curriculum development and instructional strategies in ESP courses. First, there is a clear need for enhanced focus on teacher training and development to address the identified challenges related to faculty qualifications. Second, the development and curation of specialized teaching materials should be prioritized to support effective instruction across various disciplines within art and design colleges.

Future research should explore the specific training needs of ESP instructors within the context of art and design to better tailor professional development programs. Some attempts have already been made to enhance the professional development of English-medium instruction teachers [ 42 ]. Additionally, studies could investigate the impact of enhanced teaching materials and innovative instructional strategies on student outcomes in ESP courses, further contributing to the refinement of ESP pedagogy in specialized educational settings.

7. Conclusion and implications for ESP course design

This study provides a nuanced analysis of the needs and challenges associated with English for Specific Purposes(ESP) courses within art and design colleges, revealing key insights into both consensus and divergence among various educational stakeholders, including undergraduate students, graduate students, art teachers, and English teachers. Through detailed examination, a distinct demand has been identified among students for specialized English learning, especially in interactive and receptive skills. This demand correlates with the urgent need to enhance reading abilities as recognized by both students and teachers. The noted discrepancy between teacher evaluations of student abilities and students’ self-assessments, particularly among undergraduates, underscores a significant proficiency gap that must be addressed to meet professional requirements effectively.

Despite widespread acknowledgment of ESP’s positive impact on enhancing professional skills, the enthusiasm for adopting ESP courses varies, with notable resistance from some English teachers. This reluctance to transition from English for General Purposes (EGP) to ESP, despite the evident demand from both art teachers and students, presents a substantial barrier to the successful integration of ESP into curricula.

A recurring theme from this study is the pivotal role of teacher-related issues as the primary obstacle in ESP course implementation. Teachers particularly highlight challenges with the quality of textbooks, suggesting the necessity for a holistic approach to ESP course development that encompasses both content quality and effective delivery methods, including enhancing teacher readiness and improving resource availability.

The difficulties related to teacher qualifications and the quality of instructional materials call for strategic interventions. These should include targeted faculty development programs and the creation of context-specific teaching resources. However, research on ESP teachers remains scant [ 17 ], indicating a gap that needs filling. One promising strategy could involve a collaborative approach where English teachers at art colleges work closely with art faculty and industry professionals to develop specialized materials that meld disciplinary knowledge with linguistic and educational expertise [ 42 – 44 ]. Such partnerships could foster ESP courses that are not only linguistically robust but also deeply integrated with art and design professional contexts.

Moreover, the findings emphasize the necessity for a balanced educational strategy that encompasses both general English and specialized English training. This approach ensures that students are equipped not only with foundational language skills but also with the specialized language skills necessary for their professional development.

The divergences in perception among different educational groups highlight the need for a nuanced approach to ESP course design. It is evident that universal solutions may not suffice; instead, tailored courses designed to meet the specific requirements of various stakeholders, particularly in specialized fields like art and design, are essential.

To address the identified needs and challenges associated with ESP courses in art and design colleges, several pedagogical strategies can be implemented.

• Targeted Faculty Development Programs: Comprehensive faculty development programs are essential for equipping teachers with the skills needed to deliver effective ESP instruction. These programs should focus on the unique linguistic requirements of art and design contexts, integrating both disciplinary knowledge and pedagogical techniques. By enhancing teachers’ understanding of art-specific language and instructional strategies, these programs can bridge the gap between general English proficiency and specialized professional language needs.
• Collaborative Material Development: Developing high-quality, context-specific teaching materials requires collaboration between English teachers, art faculty, and industry professionals. This collaborative approach ensures that learning resources are relevant, practical, and aligned with the specific needs of students in art and design fields. Materials should meld disciplinary knowledge with linguistic and educational expertise, providing students with robust language skills that are deeply integrated with their professional contexts.
• Integrated Curriculum Design: An integrated curriculum that balances general English proficiency with specialized ESP content is crucial for student success. Such a curriculum should ensure that students build a strong foundation in general English while progressively acquiring the specialized vocabulary and skills necessary for their professional development.
• Enhanced Teacher Readiness: Improving teacher readiness is vital for the successful implementation of ESP courses. Ongoing professional development opportunities, including workshops, seminars, and access to the latest research in ESP methodologies, are necessary. These initiatives should focus on equipping teachers with the skills and knowledge required to deliver high-quality ESP instruction, addressing the challenges identified in the study.
• Resource Availability: Increasing the availability of high-quality instructional resources that are tailored to the needs of art and design students, including textbooks, digital tools, and multimedia content, is essential for effective ESP instruction.
• Feedback Mechanisms: Establishing robust feedback mechanisms that regularly gather input from students and teachers on the effectiveness of ESP courses is crucial. This feedback should be used to continuously refine and improve the curriculum and instructional methods, ensuring that the courses remain relevant and effective in meeting the needs of students and educators.
• Institutional Support: Strong institutional support for ESP initiatives is necessary to ensure their successful implementation. This includes administrative backing and adequate funding for program development, teacher training, and resource acquisition. Institutional commitment to ESP can facilitate the integration of specialized language instruction into the broader curriculum, enhancing the overall quality of education in art and design colleges.
• Global Perspectives: Considering global perspectives and practices in ESP by benchmarking against international standards and incorporating best practices from other institutions worldwide can broaden the applicability of the research findings. This approach addresses the limitations of context-specific findings and ensures that ESP courses are aligned with global educational trends and standards.

In conclusion, the research clearly articulates the need for dedicated and specifically tailored ESP courses in art and design colleges. To effectively meet these identified needs, a concerted effort from educators, administrators, and field professionals is imperative. By addressing the distinct challenges and leveraging collaborative strategies proposed herein, ESP courses can be optimally designed to significantly enhance students’ international competitiveness and professional prowess in the art and design sector.

This study, while comprehensive in its exploration of the needs and challenges associated with ESP courses in art and design colleges, is subject to limitations that must be considered when interpreting the findings. The data for this research were collected from only two colleges of art and design in China. This limitation restricts the generalizability of the findings to other institutions with different educational contexts and cultures. Educational practices and the perceived importance of ESP can vary significantly across different regions and educational systems. Therefore, the insights gained may not fully represent the broader spectrum of challenges and needs faced by art and design colleges globally.

Supporting information

S1 file. questionnaire for esp needs survey..

https://doi.org/10.1371/journal.pone.0305210.s001

S1 Table. Original collected data.

https://doi.org/10.1371/journal.pone.0305210.s002

Acknowledgments

We would like to thank all the teachers and students who participated in the survey.

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1 Introduction to Art

This course is called “Introduction to Art”. It might better be called “Introduction to Visual Culture” because that is what we are all engaged with from the moment we wake up until the end of our day. When you turn on your television, open your phone or computer, or simply walk outside you have already accessed visually any number of aesthetic objects that someone – for our purposes we’ll call her an artist – made choices about in its presentation. From the packaging of your cereal to the design of your bicycle, the components and techniques artists use to make another visual medium we call “fine art” are tapped. For centuries makers have divided objects into utilitarian things and things with no other obvious use except to give us pleasure (there are exceptions – 18th century tapestries did keep out the castle drafts, but that’s a story for later). Today that dividing line has eroded, and even though we still have sections in museums for things like furniture, and museums for so-called crafts, the fact remains that these objects are also appreciated for their formal characteristics sufficiently that they are collected and placed in galleries, museums, and private collections. This class is intended to make you more visually sensitive to the world around you and to begin to understand your own aesthetic tastes and to seek out things that give you visual pleasure. (Another aside: “pleasure” is loosely used here; sometimes work we love makes us think, or even brings up unpleasant emotions, but we none-the-less appreciate them for their ability to touch us in some way.)

Human beings seem to be hard-wired to create. From sites of the earliest human – and even proto-human – occupation come objects that seem to be attempts to illustrate the world.

These images and objects have accompanied human beings throughout time. The forms, mediums, and techniques with which we have pictured our world has changed along with human beings, but their impulse to picture that world has not.

What is Art?

So how do we define “fine” art, then? Art is a highly diverse range of human activities which create visual, auditory, or performed artifacts— artworks—that express the author’s imaginative or technical skill, and are intended to be appreciated for their beauty or emotional power.

The oldest documented forms of art are visual arts, although archeologists suggest early humans also made music. Over time techniques – media – has included painting, sculpture, printmaking and, beginning in the 19 th century, photography. Architecture is often included as one of the visual arts; however, like the decorative arts, it involves the creation of objects in which the practical considerations of use are essential in a way that they usually are not in another visual art like a painting. Art may be characterized in terms of mimesis (its “realistic” representation of reality), expression, communication of emotion, or other qualities. Though the definition of what constitutes art is disputed and has changed over time, general descriptions center on the idea of imaginative or technical skill stemming from human agency and creation. When it comes to visually identifying a work of art, there is no single set of values or aesthetic traits. A Baroque painting will not necessarily share much with a contemporary performance piece, but they are both considered art.

Despite the seemingly indefinable nature of art, there have always existed certain formal guidelines for its aesthetic judgment and analysis. Formalism  is a concept in art theory in which an artwork’s artistic value is determined solely by its form, or how it is made. Formalism evaluates works on a purely visual level, considering medium and compositional elements as opposed to any reference to realism, context, or content. In this class you will learn to “read” an artwork according to its formal qualities – a “formal analysis”.

Art is often examined through the interaction of the  principles  and  elements  of art. The principles of art include movement, unity, harmony, variety, balance, contrast, proportion and pattern. The elements include texture, form, space, shape, color, value and line. The various interactions between the elements and principles of art help artists to organize sensorially pleasing works of art while also giving viewers a framework within which to analyze and discuss aesthetic ideas. In our next reading, we will learn more about the elements and principles of art and begin to use them to describe works of art.

Caravaggio’s Ecce Homo is an example of a Baroque painting.  It depicts the scene from the Bible in which Pontius Pilate displays Jesus Christ to the hostile crowd with the words, “Ecce homo!” (“Behold this man!”).

Bjork’s Mutual Core is an example of a contemporary performance piece.  Video art is often an interdisciplinary mash-up of music, painting, performance, and other forms. Although very different in terms of medium, time period, and message, both of these works of art utilize similar elements and principles.

What Does Art Do?

A fundamental purpose common to most art forms is the underlying intention to appeal to – and connect with – human emotion. However, the term “art” is incredibly broad and can be broken up into numerous sub-categories that lead to utilitarian, decorative, therapeutic, communicative, and intellectual ends. In its broadest form, art may be considered an exploration of the human condition, or a product of human experience.

Artists create work that fulfills a number of emotional and sometimes practical uses in a culture. We often group these functions according to genre . [Genre refers in general to a classification of objects by form, content, or style. Specifically it refers to a category of works that use images of everyday life as subject matter.] Part of what artists do is to create work that is intended for a specific purpose.

Stonehenge was created by Neolithic peoples for a purpose, even though today we cannot know conclusively what that purpose was. Archeologists assume it had a ritualistic purpose but may have also had meaning for those people that is lost to us today. Even so it continues to embody power for the thousands of modern people who visit it each year.

Artists also create versions of utilitarian objects that hold aesthetic value beyond the ordinary. The decorative arts add aesthetic and design values to everyday objects, such as a glass or a chair, transforming them from a mere utilitarian object to something aesthetically beautiful. Entire schools of thought exist based on the concepts of design theory intended for the objects in the physical world.

This computer graphic of the famous chair designed by Marcel Breuer in 1925 has become an icon of what we call “modernism.”

We are familiar with art that provides a record of actual historical events. Artists from cultures all over the world have created visual documentation of moments that held particular significance for the society at the time. In the 17 th century, the French Academy called this genre of painting “history painting” and afforded it the highest place in its hierarchy of genres.

Washington Crossing the Delaware is a subject from American history that has been represented by a number of artists over the years. The two Islamic illustrations above are from a Mughal Dynasty manuscript; the opening chapter is entitled “The Conduct of Kings”; the upper register (horizontal band of images) depicts a prince visiting holy men in the wilderness. The lower illustrates a parable about a king who had given a large sum of money to a beggar. The beggar spends the king’s large gift and then returns for more. When the king refuses his minister advises him to gift the beggar money in regular small amounts instead, the moral being that one should not give hope by an act of unbounded kindness that you are not willing to continue.

Art can also illustrate beliefs that are deeply held but cannot be seen – this kind of art is best seen in various religious traditions.

Some religions require images of their gods while others prohibit such images. The Catholic church has a rich tradition over centuries of picturing the many stories and personages of that practice; however, the Christian offshoot of Protestantism did not choose to picture those deities and worshiped in churches virtually without representational ornamentation.

The need to give physical form to the gods has been a common impulse in human beings across time and many very different cultures, however.

This large head represents the god Quetzalcoatl from the Museum of Anthropology in Teotihuacan. (Isaact92.) Quetzalcoatl was the Plumed Serpent god of several cultures in MesoAmerica.

One of the most universal functions of art is to help us externalize human emotions or visualize the human condition in general. Various artists throughout art history have expressed their own emotions and allowed viewers to empathize. One of the most famous paintings which suggests the internal state of the artist who painted it is Van Gogh’s Wheat Field with Crows from 1890 .

Van Gogh had long suffered from debilitating bouts of mental and physical illness. He painted this work near the end of his life. The lowering, stormy skies along with the apparent dead-end path and black, ominous cloud of crows was intended, according to Van Gogh, to suggest “sadness, extreme loneliness”, but also to show what he believed was “healthy and fortifying about the countryside.” (http://vangoghletters.org/vg/letters/let898/letter.html. To Theo van Gogh and Jo van Gogh-Bonger. Auvers-sur-Oise, on or about Thursday, 10 July 1890.)

Art can function therapeutically as well, an idea that is imployed in art therapy. While definitions and practices vary, art therapy is generally understood as a form of therapy that uses art media as its primary mode of communication. It is a relatively young discipline, first introduced around the mid-20th century. Individuals who have difficulty expressing their internal state verbally can sometimes, it is thought, represent those feelings in visual form more easily.

Historically, the fine arts were meant to appeal to the human intellect as well as to the emotions, though currently there are no true boundaries. Typically, fine art movements have reacted to each other both intellectually and aesthetically throughout the ages. With the introduction of conceptual art and postmodern theory, practically anything can be termed art. In general terms, the fine arts represent an exploration of the human condition and the attempt to experience a deeper understanding of life and the world both around and within us.

To this end, art can make us more aware of the ordinary – the world as we experience it every day. Artists create moments which pull us out of ourselves and out of our daily lives and make us notice and think about the world in new ways. Graffiti art like that of Banksy can create those moments for us. He is so popular because he creates unexpected moments of visual expression for us.

Meaning in Art

In many ways, this is the most problematic issue we will address in this class. Often when we are confronted with something that is unusual, extreme, and unexpected we don’t know how to respond to it. It may make us uncomfortable; we might feel like the person who made it is trying to make us feel stupid because we don’t understand what we’re seeing or why others think it’s important. We might think that the artist is trying to fool us into taking seriously something with no value. While this is a natural response it cuts us off from the richness of art by making us focus on “meaning” to the exclusion of all else. I would ask you, as we begin to think about these things, to put that aside for now. When you are inclined to dismiss a work step back and see if you can find something in it to appreciate – maybe just to question. You’ll find that sometimes art is just about art – meta-art. It may not “mean” anything, or at least not in any way that is accessible to us. But if we give it a chance we might be able to appreciate things in it like color or shape or line, or something that isn’t really meant to challenge us intellectually but rather optically. All art communicates, or at least all good art does. What it communicates and how may often depend as much on the viewer as it does the artist’s original intention.

The meaning of art is often culturally specific, shared among the members of a given society and dependent upon cultural context. The purpose of works of art may be to communicate political, spiritual or philosophical ideas, to create a sense of beauty (see aesthetics ), to explore the nature of perception, for pleasure, or to generate strong emotions. Its purpose may also be seemingly nonexistent.

Art, in its broadest sense, is a form of communication. Philosophers have grappled with the meaning of art in human culture for ages. Essentially, a work of art means whatever the artist intends it to mean, and this meaning is shaped by the materials, techniques, and forms it makes use of, as well as the ideas and feelings it creates in its viewers. Art is an act of expressing feelings, thoughts, and observations.

Beauty in Art

What makes art beautiful is a complicated concept, since beauty is subjective and can change based on context. However, there is a basic human instinct, or internal appreciation, for harmony, balance, and rhythm which can be defined as beauty. Beauty in terms of art usually refers to an interaction between line, color, texture, sound, shape, motion, and size that is pleasing to the senses.

Aesthetic Art

Aesthetics is the branch of philosophy that deals with the nature and appreciation of art, beauty, and taste. Aesthetics is central to any exploration of art. The word “aesthetic” is derived from the Greek “aisthetikos,” meaning “esthetic, sensitive, or sentient. ” In practice, aesthetic judgment refers to the sensory contemplation or appreciation of an object (not necessarily a work of art), while artistic judgment refers to the recognition, appreciation, or criticism of a work of art.

Numerous philosophers have attempted to tackle the concept of beauty and art. For Immanuel Kant, the aesthetic experience of beauty is a judgment of a subjective, but common, human truth. He argued that all people should agree that a rose is beautiful if it indeed is. There are many common conceptions of beauty; for example, Michelangelo’s paintings in the Sistine Chapel are widely recognized as beautiful works of art. However, Kant believes beauty cannot be reduced to any basic set of characteristics or features.

For Arthur Schopenhauer, aesthetic contemplation of beauty is the freest and most pure that intellect can be. He believes that only in terms of aesthetics do we contemplate perfection of form without any kind of worldly agenda – an intellectual or personal remove with no end besides the enjoyment of contemplation.

Beauty in art can be difficult to put into words due to a seeming lack of accurate language. An aesthetic judgment cannot be an empirical judgment but must instead be processed on a more intuitive level. In 1964, Supreme Court Justice Potter Stewart wrote that he couldn’t adequately define “pornography” but that he knew it when he saw it. (378 U.S. 184, 1964) Weirdly, this is true of art as well. It is visually satisfying, or stimulating, for reasons that we often find hard to quantify or describe.

Art and Human Emotion

Sometimes beauty is not the artist’s ultimate goal. Art is often intended to appeal to, and connect with, human emotion. Artists may express something so that their audience is stimulated in some way—creating feelings, religious faith, curiosity, interest, identification with a group, memories, thoughts, or creativity. For example, performance art often does not aim to please the audience but instead evokes feelings, reactions, conversations, or questions from the viewer. In these cases, aesthetics may be an irrelevant measure of “beautiful” art.

The Röttgen Pietà is an example of an object that in some cultures was created to be typically “beautiful” with graceful figures and soft, curving lines. In Northern Europe, however, the pietà [an image of the Virgin holding the dead Christ on her lap] was created to fulfill other purposes. In the North the Christian figures and icons were created to appeal directly to the emotions of the viewers. Rather than provide a satisfying aesthetic reminder these images were intended to suggest that human pain and suffering was shared between humanity and their God.

Who is an “Artist”?

An artist is a person who is involved in the wide range of activities that are related to creating art. The word has transformed over time and context, but the modern understanding of the term denotes that, ultimately, an artist is anyone who calls him/herself an artist.

In ancient Greece and Rome, there was no word for “artist.” The Greek word “techne” is the closest that exists to “art” and means “mastery of any art or craft.” From the Latin “tecnicus” derives the English words “technique,” “technology,” and “technical.” From these words we can denote the ancient standard of equating art with manual labor or craft.

Each of the nine muses of ancient Greece oversaw a different field of human creation. The creation of poetry and music was considered to be divinely inspired and was therefore held in high esteem. However, there was no muse identified with the painting and sculpture; ancient Greek culture held these art forms in low social regard, considering work of this sort to be more along the lines of manual labor. During the Middle Ages, the word “artista” referred to something resembling “craftsman,” or student of the arts. The first division into “major” and “minor” arts dates back to the 1400s with the work of Leon Battista Alberti, which focused on the importance of the intellectual skills of the artist rather than the manual skills of a craftsman. The European academies of the 16th century formally solidified the gap between the fine and the applied arts, which exists in varying degrees to this day. Generally speaking, the applied arts apply design and aesthetics to objects of everyday use, while the fine arts serve as intellectual stimulation.

Currently, the term “artist” typically refers to anyone who is engaged in an activity that is deemed to be an art form. However, the questions of what is art and who is an artist are not easily answered. The idea of defining art today is far more difficult than it has ever been. After the exhibition during the Pop Art movement of Andy Warhol’s Brillo Box and Campbell’s Soup Cans, the questions of “what is art?” and “who is an artist?” entered a more conceptual realm. Anything can, in fact, be art, and the term remains constantly evolving.

Andy Warhol’s Campbell’s Soup Cans have come to be representative of the Pop Art movement.

One group of makers who never intended their work for public consumption have become increasingly noticed and celebrated in recent years.

https://www.justfolk.com/product/black-dog-running/

Bill Traylor was born in slavery in Alabama in 1854. After emancipation, he continued to work as a sharecropper. In 1935, in his early 80s, Traylor moved into the city of Montgomery and began to make images that recalled his life on the farm. Traylor never intended his work as “art” in the way we think of it. When he was discovered in the 80s his work quickly became popular and now sells for thousands of dollars at auction. Artists like Traylor are called “naïve”, “folk”, or “ Outsider ” artists because they made work outside the mainstream and had no formal training as an artist. Other well-known artists like this are Henry Darger, Grandma Moses, James Hampton, and Maud Lewis.

Representation

There are art historical terms to describe certain visual conventions that have grown up over time. Many of these are seen in earlier periods, but contemporary artists still use versions of these conventions because the ideas they embody are universal. One of these terms is vanitas , from the Latin vanus , meaning empty or valueless, and is also the term from which we get the word “vanity”.

Valdés Leal, a Spanish Baroque painter, employed images to make up this Vanitas painting [a type of painting meant to bring to mind the shortness of life and the worthlessness of worldly things in the face of eternity]; art historians employ something called iconography [the identification and meaning of subject matter in art] to help understand the meaning of images in art. All Vanitas paintings use similar objects, although there are regional differences. A human skull is a pretty good indication that you’re looking at a Vanitas painting, but Dutch Baroque vanitas painting doesn’t always include a skull. Other objects like fruit and flowers (they die and rot, like human bodies), candles and calendars (they bring to mind the idea of time passing), and jewels, money, and often medals or military honors (things which have no value after death) are all typical objects in a Vanitas painting. Iconography is the one tool art historians use which requires study and a familiarity with historical context. This is difficult for a new student to employ but it should suggest that historical meanings are often not those we might attach to objects today.

Audrey Flack used those historical ideas in the 1970s to paint images that were intended to remind us of the same things, but she also used images that had a feminist context. Another typical Vanitas image was that of a young woman looking in a mirror, sometimes with a skull sitting near her or even with Death looking over her shoulder. These Death and the Maiden images conflated women and vanity, a cliché about women that Flack was also drawing attention to.

Representation, Abstraction, and Nonrepresentation

We describe art in a number of ways that refer to the manner in which it is pictured, or its style. Style has broader meaning, but here are a few examples and definitions of the main ways imagery is categorized. You will want to pay special attention to these categories as you will be asked to recognize them in works of art.

Representational Art

This kind of art seeks to recreate our actual visual experience of the world. We might way it looks “real” or “realistic.” Representational is better because it includes the idea that art is art – not the actual object and is the product of the artist’s hand and eye even though we have no problem recognizing the image.

“Bonheur was renowned for her animal paintings. She may have seen the long-eared terrier that is the subject of this oil study in the Fontainebleau forest, near her home in Thomery, or it may have been one of the many pets she kept throughout her life. Bonheur’s work is characterized by direct observation and careful draftsmanship. Traditional in her approach, she produced numerous preparatory sketches, like this one, before creating a painting. In 1865, Bonheur became the first woman awarded the Grand Cross of the Legion of Honor, a coveted honor established by Napoleon.”

We understand that this is a picture of a dog even though the bottom is unfinished.

When we describe an image as “abstract” we mean that it has its roots in the observed world but the artist has exaggerated certain visual elements. We know what it is but it doesn’t look the way we would actually expect that object to look in the real world.

Paul Klee (1879 – 1940) was a Swiss-German artist whose work was highly influenced by children’s drawings and other non-traditional sources. He wrote about art and taught at the Bauhaus school of art, design and architecture. Here Klee gives us a dog howling at the moon and a suggestion of the howl itself. This would be described as “abstract” because the subject is one we can recognize but painted in a way that exaggerates forms, colors, and its environment.

One aspect of the word “abstract” that you may find confusing is its use in other contexts. The word has come to mean things that might better be described as “non-representational” rather than abstract, but even the Abstract Expressionist movement which contained work that primarily had no literal visual correspondent in the natural world was given that title. Possibly the Nonrepresentational Expressionists was too long and clumsy.

Nonrepresentation

This one is pretty straightforward. Art that doesn’t have subject matter that seems to recreate an object from the observable world is called “nonrepresentational”.

The only thing representational about Pollock’s work is the title, but nothing in the painting itself suggests the season. It is rhythmic in the swoop and flow of brushwork, or drips, but it remains essentially a painting that is only about its formal qualities. We can appreciate the feeling of action (some Abstract Expressionist painters like Pollock were also called “Action Painters” because of the broad gestural brushwork) and the colors and the depth we feel because of the overlapping paint, but it doesn’t represent anything literal. You may find the word “nonobjective” also employed for this kind of work, but for our purposes nonrepresentational seems more appropriate.

Form and Content

Form is used to describe the way a work of art looks. In the next section we will learn terms that help describe the form of art. Content is what the work is about. In other words, Rosa Bonheur’s study of a dog was “about” a dog – that was its content. Pollock’s Autumn Rhythm #30 also has content, but as we’ve seen the content can best be described in formal terms. The form is the content. Often the medium used in a work of art does give it meaning, or content, that it wouldn’t have in another medium. Andy Goldsworthy is a Scottish artist who works with natural elements like leaves and sticks and stones to draw attention to the environment. You can see examples of his work here:

http://www.architecturaldigest.com/gallery/andy-goldsworthy-book-ephemeral-works?mbid=social_facebook

The context in which we encounter an object can also affect its meaning. Modern photographs of, for example, a religious object may have a purely aesthetic interest for us while if we came across it in a cathedral we might understand it differently.

The Objects of Art

Especially in the twentieth century artists began to question the value of the art object itself. Marcel Duchamp questioned the exclusivity of art-making when he appropriated everyday objects like bicycle wheels, bottle racks and urinals in his readymades . This relationship of art and object became even more problematic with movements like the Happenings of the 60s, or the Fluxus artists’ performances, or finally Conceptual art in which the idea is often art enough. Another way objects have been made less precious but remained in a gallery or museum setting is installation art. Art can inhabit an entire space, indoor or out, and the viewer experiences the work with their entire body.

This basic introduction to some of the ideas we encounter when we begin to think about art is only a jumping-off-place for us. In the sections to come we will flesh out these ideas with examples and descriptions of various kinds, techniques, and methods of art-making, and finally we’ll take a brief historical tour through art through the ages in the West.

Licenses and Attributions: https://courses.lumenlearning.com/boundless-arthistory/chapter/what-is-art/

Introduction To Art Copyright © by Muffet Jones is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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Three simple steps to understand art: look, see, think

Senior Lecturer in Art History and Theory, University of Newcastle

Disclosure statement

Kit Messham-Muir does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

University of Newcastle provides funding as a member of The Conversation AU.

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What’s the key to understanding art? Could there be some easy steps to unpacking the meaning of an artwork?

The short answer is: yes.

I recently wrote an article for The Conversation called Three questions not to ask of art – and four to ask instead , which tackled some age-old questions that get asked of art: Why is that art? What is it meant to be? Couldn’t a four-year-old do that?

I suggested four better questions to ask, taken from Australian art academic Terry Smith .

Here’s a simple three-step method I use, adapted from an old technique by the art historian Erwin Panofsky :

1) Look 2) See 3) Think

The first two – look and see – are just about using your eyes, and observational skills. The third requires a bit of thought, drawing on what we already know and creatively interpreting what we’ve observed within an artwork’s broader contexts.

When we see anything, whether it’s a work of art, a movie or a billboard, our brains perform a massively complex split-second process of reading and making meaning. We absorb a whole range of clues that make up our understanding of any image, many of which we’re not even conscious of.

Any process of understanding art, then, is about slowing down that process, breaking down the image deliberately and holding off from jumping to any snap conclusions until later.

Step 1: Look

Isn’t it obvious we “look” at art? Not really. When we visit a gallery, we tend to spend only a few seconds in front of any one work. In fact, some estimates have it at under two seconds.

So look at what’s there, literally right in front of you. Start with the most basic: what medium or material is it – a photograph, an object, a painting? How does it look? Rough and quick? Slick and neat? Shiny? Dirty? Carefully made? Thrown together?

The artist will have made some very deliberate decisions about the materials, style and approach, and these will feed directly into the overall feel and meaning of the work.

Look at this work by Spanish-born Australian artist Dani Marti called It’s all about Peter, made in 2009.

It hangs on the wall like a painting, but is made up of hundreds of melted plastic objects bowls, orange juicers, plastic domestic appliances, all different colours. Marti wants us to think of it in the tradition of a painting, even if it’s made up of 3D plastic objects.

Step 2: See

What’s the difference between looking and seeing in the context of art? Looking is about literally describing what is in front of you, while seeing is about applying meaning to it. When we see we understand what is seen as symbols, and we interpret what’s there in front of us.

Erwin Panofsky calls the symbols in an artwork “iconography”, and any image can be easily broken down into the iconography that makes it up.

Consider the iconography in Pablo Picasso’s epic painting, Guernica (1937). In the centre, there’s that screaming horse, with a dismembered arm just below it. On the left, a woman is wailing and holding a dead infant, and dominating the image is the light shade that looks like an explosion. Those individual elements combine to produce the overall meaning of the painting, which in this case is regarded as one of the most powerful anti-war art works created.

The iconography in Marti’s It’s all about Peter is not so obvious – it’s more abstracted, which means it’s removed from a simple literal depiction of something. But the actual melted plastic objects are everyday items – things you might have in your home, the objects a person would surround themselves with that make up their life. Make a mental note of iconography like this, and take it to the final step.

Step 3: Think

The final step involves thinking about what you’ve observed, drawing together what you’ve gleaned from the first two steps and thinking about possible meanings. Importantly, this is a process of interpretation. It’s not a science. It’s not about finding the “right answers”, but about thinking creatively about the most plausible understandings of a work.

The key here is context. The broader context of an artwork will help make sense of what you’ve already observed. Much of the information about context is usually given in those dull little labels that tell you the artist’s name, the title of the work and the year. And there are often other valuable morsels of information included too, such as the place and year an artist was born.

Who is the artist? Is it someone whose work you know something about? If so, what do you know about them? Even if this is “Picasso was a womaniser”, or “Jackson Pollock was a drunk”, if you’ve heard of the artist, you have some existing knowledge you can bring to bear.

If you’ve never heard of the artist, what does his or her name suggest about where they might be from? Text panels in galleries usually have the artist’s dates and where he or she was born. These are important clues. Naturally, an artist born in the Soviet Union in the 1930s is going to have very different life experiences from one born in Spain in the 1960s.

When was the work made? What do you know about what was happening at the time, even if it’s this year? Text panels sometimes say where the artist works, so where was the work made? Artists produce work that responds to the world they’re immersed in every day, so the “when” and “where” will give clues as to what was happening.

Importantly, bring to bear everything you know – you’d be surprised how much you know of the context of an artwork just from your general knowledge, a lot of which comes from conversations, television, the internet, all those things that are “informal learning”.

In the case of Marti’s It’s all about Peter, the title is a major key. Marti is literally telling us that this work is all about someone called Peter. We might not know who Peter is, but we do know from the title that this is a kind of an abstracted portrait of him – think of how the artist has hung this on the wall like a painting, wanting us to think of the tradition of portraiture.

The iconography – those everyday plastic objects in this work – are a portrait of “Peter”, perhaps things owned by him, that say something about the colours of the things he chooses to surround himself with. If this work was a person, what could you say about them? Colourful and complex, perhaps? We’re guessing. But we’ve unlocked that It’s all about Peter is a personal portrait about the artist’s connection with Peter.

You might be thinking, “hold on, if I did these three steps every time I see a work of art, it’s going to take years to see everything in the gallery”.

So here’s an important tip – you don’t have to look at (or like) everything. You don’t like those Old Master paintings of rich dead white people? Fine, don’t waste your time on them. Alternatively, if you love that stuff and hate modern art, go wild.

Trying to see everything in a major gallery in an hour is like going to a multiplex cinema and trying to see all 12 movies in an hour by dashing from theatre to theatre. Nothing would make sense.

Myself, I love art that pokes me to think differently about something I thought I already knew. Other people prefer eye candy. It’s all valid.

Just give yourself a moment to slow down, to look, see and think, and you’ll find something that really speaks to you.

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5 Online Tools That Show Your Art in a Room

by Carolyn Edlund

These helpful virtual tools make it easy to show and sell art online.

Artist Marion Griese shares her art in a room setting using the ArtRooms app

Ready to increase your online art sales? Present your work beautifully by sharing the impact and scale of artwork with potential collectors through the use of in situ images. Offering room views enhances the shopping experience, and increases customer confidence. Creating these images doesn’t require Photoshop or even a high level of technical ability. Check out the tools below and start showcasing your own art in virtual rooms!

This site offers a paid service that ranges from $11 – $59 per month, and serves a variety of clients, including artists, galleries and art consultants. Place your artwork in an uploaded image of a collector’s wall to give them a preview. Or, design and create an entire exhibition of work on a virtual gallery wall or exhibition booth.

This option is a smartphone app that superimposes your work on a selection of interiors. Room settings are updated frequently, and different colored walls are available. Select frames to suggest hanging options, and easily share your images. ArtRooms has a high customer satisfaction rating. Try it for the first month at $3.99, then pay a monthly fee of $7.99.

MockUpEditor

This cool site lets you customize a mockup right in your browser with an easy drag and drop feature. Use a pre-made template or build it yourself on a “blank canvas” and place your art in the setting. They offer flexible pricing so you can pay for only what you need, ranging from $5 for a single download to $69 for unlimited annual use.

A smartphone app, iArtView is useful for artists as well as trade professionals. Show artwork at scale in a selection from their collection of interior photos. Choose a frame option if desired. Adjust the lighting, select a wall color, edit, save and share easily. Very handy at a fair! Pricing options start at free.

Powered by OhMyPrints.com, their drag-and-drop tool allows you to place artwork or photography in a variety of room setting options, clicking through to choose your favorite, or uploading a room of your choice to customize it. Although you cannot set it “at scale” you can change the size of the art image within the background to your estimated size. This tool is free to use. A small watermark will show up on the final image.

Artist credit:  Marion Griese

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Subscribe to our twice-monthly Updates, and get a free e-book on Where to Sell Art Online right now!

YES PLEASE!

I have about 5 years of experience in art. I do art pretty well but I couldn’t find any good website or tools to sell my art. Thank you so much for sharing the tools with us. I think lots of artists benefited from these tools.

I’m glad that this article could be a resource for you as you prepare to present your art portfolio, Naim!

Thank you so much for this great list of resources, I had been thinking this must exist on the internet, and here I found this article with tons of information!! I appreciate your time!

Thanks for this. It’s great. I am wondering if there is something similar for sculpture. I cannot seem to find anything for that

Hi Marijo, You have hit on one of the limitations of in situ providers, in that sculpture is 3D. A solution for that could be placing your work in a 3D virtual gallery. See our article here https://www.artsyshark.com/2021/03/17/create-a-3d-online-exhibition-of-your-art/ . The provider http://www.OnlineViewingRoom.com has a software program where the visitor can literally walk 360 degrees around the sculpture, which is the most useful one I’ve found to date.

is there any app that could display my handmade ceramic lights in the same way???

Kathryn, see my reply to Marijo about 3D sculpture. If your ceramic lights are not hung on a wall and need to be seen from different angles, you may want to check out the provider I recommended to her.

Do you know of any programme that will place sculpture in a landscape/on a photograph that isnt 3D? I need to place maquettes in lanscapes so they look bigger!

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

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.

READ NEXT: How to make an artist website (and why you need one)

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.

Instructors who assign formal analyses want you to look—and look carefully. Think of the object as a series of decisions that an artist made. Your job is to figure out and describe, explain, and interpret those decisions and why the artist may have made them. – The Writing Center, University of North Carolina at Chapel Hill 10

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.

Although description is an important part of a formal analysis, description is not enough on its own. You must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each element influences the work’s overall effect on the viewer.  – Sylvan Barnet, A Short Guide to Writing About Art 2

• 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.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists have learned from each other. In doing this, you will engage with a work and an artist’s approach even if you previously knew nothing about it. If possible do this whenever you can, not from a postcard, the internet or a picture in a book, but from the actual work itself. This is useful because it forces you to look closely at the work and to consider elements you might not have noticed before. – Susie Hodge, How to Look at Art 7

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.

As complex as works of art typically are, there are really only three general categories of statements one can make about them. A statement addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia 5

…a formal analysis – the result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture, mass, composition. These things give the stone or canvas its form, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art 2

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 6

Our interest in the painting grows only when we forget its title and take an interest in the things that it does not mention…” – Françoise Barbe-Gall, How to Look at a Painting 8

• 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 do the clothing, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and so forth), background, angle of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure’s social identity (monarch, clergyman, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing About Art 2

• 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 11

• 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)?

Parody: mimicking the appearance and/or manner of something or someone, but with a twist for comic effect or critical comment, as in Saturday Night Live’s political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia 5

• 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 11

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

All art is in part about the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary 6

• 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

• 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?
• 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)?
• 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 lines 9 . 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, 9 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 Realism 9

• 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 3

• 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 Art 2

• 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?

Industrial and architectural landscapes are particularly concerned with the arrangement of geometries and form in space… Dr. Ben Guy, Landscape and Visual Impact Assessment using CGI Digital Twins, Urban CGI 12

• 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?
• 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)

Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of student work in two high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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14.2 Incorporating Effective Visuals into a Presentation

Learning objectives.

• Recognize the characteristics of effective visual aids.
• Analyze different types of visual aids and appropriate ways to use them.
• Determine how to create original visual aids and how to locate visual aids created by others.

Good communication is a multisensory experience. Children first learning how to read often gravitate toward books with engaging pictures. As adults, we graduate to denser books without pictures, yet we still visualize ideas to help us understand the text. Advertisers favor visual media—television, magazines, and billboards—because they are the best way to hook an audience. Websites rely on color, graphics, icons, and a clear system of visual organization to engage Internet surfers.

Bringing visuals into a presentation adds color, literally and figuratively. There is an art to doing it well. This section covers how to use different kinds of visual aids effectively.

Using Visual Aids: The Basics

Good writers make conscious choices. They understand their purpose and audience. Every decision they make on the page, from organizing an essay to choosing a word with just the right connotations, is made with their purpose and audience in mind.

The same principle applies to visual communication. As a presenter, you choose the following:

• When to show images or video for maximum impact
• Which images will best produce the effect you want
• When to present information using a table, chart, or other graphic
• How much text to include in slides or informational graphics
• How to organize graphics so they present information clearly

Your goal is to use visual media to support and enhance your presentation. At the same time, you must make sure these media do not distract your audience or interfere with getting your point across. Your ideas, not your visuals, should be the focus.

As you develop the visual side of your presentation, you will follow a process much like the process you follow when you write. You will brainstorm ideas, form an organizational plan, develop drafts, and then refine and edit your work. The following sections provide guidelines to help you make good decisions throughout the process.

What Makes Visual Aids Effective?

To help you get a sense of what makes visual media work, think about what does not work. Try to recall occasions when you have witnessed the following visual media failures:

• Websites crammed with so many images, flashing phrases, and clashing colors that they are almost unreadable
• Assembly instructions with illustrations or diagrams that are impossible to follow
• Photographs that are obviously (and badly) altered with photo-editing software
• Distracting typos or other errors in signs, advertisements, or headlines
• Tables, charts, or graphs with tiny, dense text or missing labels

In each case, the problem is that the media creator did not think carefully enough about the purpose and audience. The purpose of images, color, or flashing text on a website is to attract attention. Overusing these elements defeats the purpose because the viewer may become overwhelmed or distracted. Tables, charts, and graphs are intended to simplify complex information, but without clear labels and legible text, they will confuse the audience.

In contrast, effective visual elements are chosen or created with the purpose and audience in mind. Although a photo shoot for a magazine article might result in dozens of images, editors choose those few that work best with the article. Web designers and video game creators have an audience test their products before they are released, to ensure that people will understand how to use them. Understanding the function of different visual aids will help you use them with purpose.

Types of Visual Aids

Visual aids fall into two main categories—images and informational graphics. Images include photographs, illustrations and clip art, and video footage. Informational graphics include tables, charts, bar graphs, and line graphs.

These visual aids serve two purposes: to add emotional impact to your presentation and to organize information more clearly. With that in mind, read to find out how specific types of visual aids achieve those purposes.

Photographs

A striking photograph can capture your audience’s attention far more successfully than words can. Consider including photographs at the beginning or end of your presentation to emphasize your main ideas or to accompany a particularly important point in the body of your presentation. Remember that, as with other types of graphics, less is often more. Two or three well-chosen photographs are more effective than a dozen mediocre ones.

When you choose photographs, ask yourself these questions:

• What purpose does this image serve? Will it surprise the audience? Will it provoke a strong emotional response? Does it support an important point?
• Will this photograph be more effective if shown with only a caption, or does it need additional text?
• Will the audience understand what is happening in the photograph? Is the meaning immediately evident, or does the photo need some context?
• Would editing the image make it more effective? Consider using image-editing software to crop the photo, change the brightness, or make other cosmetic changes. (Do not go overboard, though. A slightly imperfect but authentic image is preferable to one that has been obviously altered.)

To illustrate the sense of helplessness people felt in the midst of tragedy, a student could use a photograph that shows fear, weariness, or defeat on the face of the photograph’s subject.

Figure 14.3

Neil Moralee – On The Scrap Heap . – CC BY-NC-ND 2.0.

Illustrations

Illustrations, such as editorial or political cartoons, serve much the same purpose as photographs. Because an illustration does not capture a moment in time the way a photo does, it may have less impact. However, depending on your topic and the effect you want to achieve, illustrations can still be very useful. Use the same criteria for choosing photographs to help you choose illustrations.

Figure 14.4

Humor Blog – Political Cartoon about Budget Cuts – CC BY 2.0.

The style of an illustration or photograph affects viewers just as the content does. Keep this in mind if you are working with the stock images available in office software programs. Many of these images have a comical tone. This may be fine for some topics—for instance, a presentation on television shows for children. However, if you need to project a more serious tone, make sure you choose images to suit that purpose. Many free (or reasonably priced) image banks are available online.

Video Footage

Even more than photographs, video footage can create a sense of immediacy, especially if your video includes sound. Showing a brief video clip can help your audience feel as if they are present at an important event, connect with a person being interviewed, or better understand a process. Again, ask yourself the following questions to ensure you are using the footage well:

• What purpose does this video serve? (Never rely on video clips just to fill time.)
• How much footage should be shown to achieve your purpose?
• What will need to be explained, before or after showing the video, to ensure that your audience understands its significance?
• Will it be necessary to edit the video to stay within time requirements or to focus on the most important parts?

Informational graphics, such as tables, charts, and graphs, do not provoke the same response that images do. Nevertheless, these graphics can have a powerful impact. Their primary purpose is to organize and simplify information.

Tables are effective when you must classify information and organize it in categories. Tables are an especially good choice when you are presenting qualitative data that are not strictly numerical. Table 14.1 “Example of Qualitative Data Table” was created for a presentation discussing the subprime mortgage crisis. It presents information about people who have held powerful positions both in the government and at one of the investment banking firms involved in the subprime mortgage market.

Table 14.1 Example of Qualitative Data Table

Sources: http://www.rollingstone.com/politics/news/%3Bkw=%5B3351,11459%5D ; http://www.nytimes.com/2008/10/19/business/19gold.html ; http://topics.nytimes.com/top/reference/timestopics/people/p/henry_m_jr_paulson/index.html?inline=nyt-per ; http://topics.nytimes.com/top/reference/timestopics/people/r/robert_e_rubin/index.html?inline=nyt-per , http://www.nytimes.com/2002/12/13/us/man-in-the-news-economic-adviser-from-other-side-of-the-deficit-stephen-friedman.html ; http://news.bbc.co.uk/2/hi/business/342086.stm .

If you are working with numerical information, consider whether a pie chart, bar graph, or line graph might be an effective way to present the content. A table can help you organize numerical information, but it is not the most effective way to emphasize contrasting data or to show changes over time.

Pie charts are useful for showing numerical information in percentages. For example, you can use a pie chart to represent presidential election results by showing what percentage of voters voted for the Democratic presidential candidate, the Republican candidate, and candidates from other political parties.

Figure 14.5

Source: http://www.fec.gov/pubrec/fe2008/2008presgeresults.pdf

Bar graphs work well when you want to show similarities and differences in numerical data. Horizontal or vertical bars help viewers compare data from different groups, different time periods, and so forth. For instance, the bar graph in Figure 14.6 allows the viewer to compare data on the five countries that have won the most Olympic medals since the modern games began in 1924: Norway, the United States, the former Soviet Union, Germany, and Austria. Bar graphs can effectively show trends or patterns in data as well.

Figure 14.6

Source: http://www.nbcolympics.com/medals/all-time-standings/index.html

Line Graphs

Like bar graphs, line graphs show trends in data. Line graphs are usually used to show trends in data over time. For example, the line graph in Figure 14.7 shows changes in the Dow Jones Industrial Average—an economic index based on trading information about thirty large, US-based public companies. This graph shows where the Dow closed at the end of each business day over a period of five days.

Figure 14.7

Source: http://www.google.com/finance/historical?cid=983582&startdate=May+17%2C+2010&enddate=May+21%2C+2010

In this exercise, you will begin to refine your ideas for incorporating media into your presentation. Complete the following steps on your own sheet of paper.

• Revisit the list you brainstormed for Note 14.12 “Exercise 3” in Chapter 14 “Creating Presentations: Sharing Your Ideas” , Section 14.1 “Organizing a Visual Presentation” and the annotated outline you developed for Note 14.17 “Exercise 4” .
• Analyze the two different types of visual aids: images and informational graphics. Identify at least two places in your presentation where you might incorporate visual aids.
• Evaluate the purpose of the visual aid. Does it create emotional impact, or does it organize information? Is the visual effective?
• Determine whether you will be able to create the visual aid yourself or will need to find it.

Creating Original Visual Aids

You will include original visual aids in your presentation to add interest, present complex information or data more clearly, or appeal to your audience’s emotions. You may wish to create some visual aids by hand—for instance, by mounting photographs on poster board for display. More likely, however, you will use computer-generated graphics.

Computer-generated visual aids are easy to create once you learn how to use certain office software. They also offer greater versatility. You can print hard copies and display them large or include them in a handout for your audience. Or, if you are working with presentation software, you can simply insert the graphics in your slides.

Regardless of how you proceed, keep the following guidelines in mind:

• Create visual aids with purpose. Think carefully about how they will enhance your message, and choose a form that is appropriate for your content.
• Strive for quality. You do not need the skills of a professional photographer or designer, but do take time to make sure your visual aids are neat, attractive, and legible. Proofread for errors, too.

Using Software to Create Visual Aids

You can use standard office software to create simple graphics easily. The following guidelines describe how to work with word-processing software and presentation software.

Working with Photographs

Most personal computers come equipped with some basic image-editing software, and many people choose to purchase more advanced programs as well. You can upload photographs from a digital camera (or in some cases, a cell phone) or scan and upload printed photographs. The images can then be edited and incorporated into your presentation. Be sure to save all of your images in one folder for easy access.

Creating Tables

To create a table within a word-processing document consult your software program’s help feature or an online tutorial. Once you have created the table, you can edit and make any additional changes. Be sure that the table has no more than six to seven rows or columns because you do not want to compromise the size of the text or the readability. Aligning with precision will help your table look less crowded. Also, the row and column titles should spell out their contents.

Creating Graphs

Figure 14.8

Pie charts and bar and line graphs can also be created using standard office software. Although you can create these graphics within a document, you will need to work with both your word-processing application and your spreadsheet application to do so. The graph should visually explain the data using colors, titles, and labels. The use of color will help the audience distinguish information; however, avoid colors that are hard on the eyes, such as lime green or hot pink. The title should clearly state what the graph explains. Lastly, avoid using acronyms in the titles and other labels.

Creating Graphics in an Electronic Presentation

If you plan to work only with hard copy graphics during your presentation, you may choose to create them as word-processing documents. However, if you are using presentation software, you will need to choose one of the following options:

• Create your graphics using the presentation software program.
• Create your graphics within another program and import them.

Standard office presentation software allows you to create informational graphics in much the same way you would create them within a word-processing application. Keep the formatting palette, a menu option that allows you to customize the graphic, open while you use the software. The formatting menu provides options for inserting other types of graphics, such as pictures and video. You may insert pictures from an image bank available within the program, or insert images or video from your own desktop files. Shape your use of multimedia in accordance with the message your presentation is trying to convey, the purpose, and your audience.

Creating Visual Aids by Hand

Most of the time, using computer-generated graphics is more efficient than creating them by hand. Using office software programs helps give your graphics a polished appearance while also teaching you skills that are useful in a variety of jobs. However, it may make sense to use hand-created visual aids in some cases—for instance, when showing a 3-D model would be effective. If you follow this route, be sure to devote extra time to making sure your visual aids are neat, legible, and professional.

Flip charts are inexpensive and quick visual aids used during face-to-face presentations. The flip chart can be prepared before, as well as during, the presentation. Each sheet of paper should contain one theme, idea, or sketch and must be penned in large letters to be seen by audience members farthest away from the speaker.

Writing Captions

Any media you incorporate should include a caption or other explanatory text. A caption is a brief, one- to two-sentence description or explanation of a visual image. Make sure your captions are clear, accurate, and to the point. Use full sentences when you write them.

Captions should always be used with photographs, and in some cases, they can be useful for clarifying informational graphics, which represent qualitative data visually. However, informational graphics may not require a caption if the title and labels are sufficiently clear. For other visual media, such as video footage, providing explanatory text before or after the footage will suffice. The important thing is to make sure you always include some explanation of the media.

In this exercise, you will begin to develop visual aids for your presentation. Complete the steps in this exercise—and enjoy the chance to be creative. Working with visuals can be a pleasant way to take a break from the demands of writing.

• Revisit the ideas you developed in Note 14.24 “Exercise 1” . Choose at least two ideas that you can create. ( Note: If you are using software to develop a slideshow presentation, count this as one of your self-created visual aids. Include at least one other self-created visual aid, such as an original photograph, within your slideshow.)
• Get creative! Take your photographs, construct a 3-D model, create informational graphics, or work on your presentation slides. Develop good working drafts.
• After you have completed drafts of your visual aids, set them aside for a while. Then revisit them with a critical eye. First, check any text included with the graphic. Make sure your facts are correct, your words are clear and concise, and your language is free of errors.
• Next, evaluate how well your aids work visually. Are they large enough to be seen and read from a distance? Are captions and labels easy to find? Are photographs of reasonably high quality? Ask someone else for feedback, too.
• Begin making any needed changes. As you proceed through the rest of this section, continue to revisit your work to improve it as needed.

Collaboration

Please share the first version of your visual aids with a classmate. Examine what they have produced. On a separate piece of paper, note both the elements that catch your attention and those that would benefit from clarification. Return and compare notes.

Testing and Evaluating Visual Aids

Regardless of how you create your visual aids, be sure to test-drive them before you deliver your presentation. Edit and proofread them, and if possible, show them to someone who can give you objective feedback. Use the following checklist.

Checklist 14.1

Visual Aid Evaluation Checklist

• Visual aids are clearly integrated with the content of the presentation
• Photographs and illustrations suit the overall tone of the presentation
• Images and text are large and clear enough for the viewer to see or read
• Images are shown with explanatory text or a caption
• Informational graphics include clear, easy-to-read labels and headings
• Text within informational graphics is easy to read (Watch out for wordiness and crowded text or a font that is too small and hard to read.)
• Formatting choices (color, different fonts, etc.) organize information effectively
• Any text within graphics is free of errors
• Hyperlinks within slides function properly
• Display text for hyperlinks is concise and informative (Never paste a link into a slide without modifying the display text.)

Writing at Work

Office software includes many options for personalizing a presentation. For instance, you can choose or create a theme and color scheme, modify how one slide transitions to the next, or even include sound effects. With so many options, students and employees sometimes get carried away. The result can seem amateurish and detract from, rather than enhance, your presentation.

Remember, you are delivering a presentation, not producing a movie. Use the customization options to help give your presentations a consistent, polished, appearance. However, do not let these special effects detract from the substance of your slides.

Using Existing Visual Media

Depending on your topic, you may be able to find images and other graphics you can use instead of creating your own. For instance, you might use photographs from a reputable news source or informational graphics created by a government agency. If you plan to use visual aids created by others, keep the following guidelines in mind:

• Set a purpose before you begin your search. You will search more efficiently if you start with a general idea of what you are looking for—a line graph of unemployment rates for the past twelve months, for example, or a video clip of the most recent State of the Union address.
• Filter out visual aids that are not relevant. You may come across eye-catching graphics and be tempted to use them even if they are only loosely related to your topic, simply because they are attention getting. Resist the temptation. If the graphic is not clearly connected to your point, it does not belong in your presentation.
• Read carefully. In addition to reading labels, headings, and captions, read any text that accompanies the visual. Make sure you understand the visual in its original context. For informational graphics, make sure you understand exactly what information is being represented. (This may seem obvious, but it is easy to misread graphic information. Take the time to examine it carefully.)
• Evaluate sources carefully and record source information. When you look for visual media to complement your presentation, you are conducting research. Apply the same standards you used for your research paper. Choose reliable sources, such as reputable news organizations, government and nonprofit organizations, and educational institutions. Verify data in additional sources. Finally, be sure to document all source information as you proceed.

Searching Efficiently for Visual Media

You will probably find it most efficient to use the Internet to search for visual aids. Many students begin by typing keywords into a search engine to locate related images. However, this search technique is not necessarily efficient, for several reasons:

• It often pulls up hundreds or even thousands of images, which may be only loosely related to your search terms.
• It can sometimes be difficult to understand the image in its original context.
• It can be hard to find copyright information about how you may use the image.

A more efficient strategy is to identify a few sources that are likely to have what you are looking for, and then search within those sites. For instance, if you need a table showing average life expectancy in different countries, you might begin with the website of the World Health Organization. If you hope to find images related to current events, news publications are an obvious choice. The Library of Congress website includes many media related to American history, culture, and politics.

Searching this way has the following advantages:

• You will often find what you are looking for faster because you are not wasting time scrolling through many irrelevant results.
• If you have chosen your sources well, you can be reasonably certain that you are getting accurate, up-to-date information.
• Images and informational graphics produced by reputable sources are likely to be high quality—easy to read and well designed.

If you do choose to use a search engine to help you locate visual media, make sure you use it wisely. Begin with a clear idea of what you are looking for. Use the advanced search settings to narrow your search. When you locate a relevant image, do not download it immediately. Read the page or site to make sure you understand the image in context. Finally, read the site’s copyright or terms of use policy—usually found at the bottom of the home page—to make sure you may use the material.

If you are unable to find what you are looking for on the Internet consider using print sources of visual media. You may choose to mount these for display or scan them and incorporate the files into an electronic presentation. (Scanning printed pages may lower the quality of the image. However, if you are skilled at using photo-editing software, you may be able to improve the quality of the scanned image.)

Inserting Hyperlinks in an Electronic Presentation

If you are working with images, audio, or video footage available online, you may wish to insert a link within your presentation. Then, during your presentation, you can simply click the link to open the website in a separate window and toggle between windows to return to your presentation slides.

To insert a hyperlink within your presentation, click on insert in the toolbar and then select hyperlink from the menu. Doing so will open a dialogue box where you can paste your link and modify the accompanying display text shown on your slide.

Copyright and Fair Use

Before you download (or scan) any visual media, make sure you have the right to use it. Most websites state their copyright and terms of use policy on their home page. In general, you may not use other people’s visual media for any commercial purpose without contacting the copyright holder to obtain permission and pay any specified fees.

Copyright restrictions are somewhat more ambiguous when you wish to download visual media for educational uses. Some educational uses of copyrighted materials are generally considered fair use —meaning that it is legally and ethically acceptable to use the material in your work. However, do not assume that because you are using the media for an educational purpose, you are automatically in the clear. Make sure your work meets the guidelines in the following checklist. If it does, you can be reasonably confident that it would be considered fair use in a court of law and always give credit to the source.

Checklist 14.2

Media Fair Use Checklist

• You are using the media for educational purposes only.
• You will make the work available only for a short period and to a limited audience. For instance, showing a copyrighted image in a classroom presentation is acceptable. Posting a presentation with copyrighted images online is problematic. In addition, avoid any uses that would allow other people to easily access and reproduce the work.
• You have used only as much of the work as needed for your purposes. For video and audio footage, limit your use to no more than 10 percent of the media—five minutes of an hour-long television show, for example. Image use is harder to quantify, but you should avoid using many images from the same source.
• You are using the media to support your own ideas, not replace them. Your use should include some commentary or place the media in context. It should be a supporting player in your presentation—not the star of the show.
• You have obtained the material legally. Purchase the media if necessary rather than using illegally pirated material.
• Your use of the media will not affect the copyright holder or benefit you financially.

By following these guidelines, you are respecting the copyright holder’s right to control the distribution of the work and to profit from it.

In some fields, such as teaching, job applicants often submit a professional portfolio to a prospective employer. Recent college graduates may include relevant course work in their portfolios or in applications to graduate school. What should you do if your course work uses copyrighted visual media?

This use of media is acceptable according to fair use guidelines. Even though you are using the work for your personal professional advancement, it is not considered an infringement on copyright as long as you follow the additional guidelines listed in the previous checklist.

Crediting Sources

As you conduct your research, make sure you document sources as you proceed. Follow the guidelines when you download images, video, or other media from the Internet or capture media from other sources. Keep track of where you accessed the media and where you can find additional information about it. You may also provide a references page at the end of the presentation to cite not only media and images but also the information in the text of your presentation. See Chapter 13 “APA and MLA Documentation and Formatting” for more information on creating a reference page.

Write captions or other explanatory text for visual media created by others, just as you would for media you created. Doing so helps keep your audience informed. It also helps ensure that you are following fair use guidelines by presenting the media with your commentary, interpretation, or analysis. In your caption or elsewhere in your presentation, note the source of any media you did not create yourself. You do not need to provide a full bibliographical citation, but do give credit where it is due.

In this exercise, you will locate visual aids created by others and continue developing the work you began earlier. Complete these steps.

1. Revisit the ideas you developed in Note 14.24 “Exercise 1” . Choose at least two ideas for which it would make more sense to find the visual aid than to create it yourself. 2. Use the search tips provided in this section to locate at least two visual aids from reputable sources that you can use. Prepare them for your presentation by adding clarifying text as needed. Be sure to credit your source. 3. Incorporate the visual aids you created in Note 14.26 “Exercise 2” and Note 14.32 “Exercise 3” into your presentation. This may involve preparing physical copies for display or inserting graphic files into an electronic presentation.

4. Take some time now to review how you will integrate the visual and verbal components of your presentation.

• If you are working with presentation software, refine your slides. Make sure the visual approach is consistent and suits your topic. Give your text a final proofread.
• If you are not using presentation software, review the annotated outline you created in Note 14.24 “Exercise 1” . Update it as needed to reflect your current plan. Also, determine how you will physically set up your visual aids.

Key Takeaways

• Visual aids are most effective when they are chosen with the purpose and audience in mind. They serve to add emotional impact to a presentation and to organize information more clearly.
• Visual aids should always be clearly related to the presenter’s ideas. Captions, labels, and other explanatory text help make the connection clear for the audience.
• Like writing, developing the visual components of a presentation is a process. It involves generating ideas, working with them in a draft format, and then revising and editing one’s work.
• Visual aids can be divided into two broad categories—image-based media and informational graphics.
• Widely available software programs make it relatively easy to create visual aids electronically, such as photo images, charts, and graphs.
• When using visual aids created by others, it is important to apply good research skills, follow guidelines for fair use, and credit sources appropriately.

Writing for Success Copyright © 2015 by University of Minnesota Libraries Publishing is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Discover contemporary artworks by Esp---Art, browse recent artworks and buy online. Categories: contemporary american artists. Artistic domains: Drawing, Painting. Account type: Artist , member since 2002 (Country of origin United States). Buy Esp---Art's latest works on Artmajeur: Discover great art by contemporary artist Esp---Art. Browse artworks, buy original art or high end prints.

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Photos • 21 artworks.

Photography | Several sizes

sketches • 18 artworks

Drawing | 25.4x17.8 cm

Drawing | 33x17.8 cm

Drawing | 20.3x27.9 cm

Drawing | 20.3x25.4 cm

Drawing | 35.6x27.9 cm

Drawing | 17.8x17.8 cm

Drawing | 22.9x30.5 cm

3-d • 10 artworks.

Sculpture | 91.4x91.4 cm

Sculpture | 10.2x10.2 cm

Sculpture | 152.4x91.4 cm

Sculpture | 38.1x63.5 cm

Sculpture | 50.8x25.4 cm

Sculpture | 38.1x12.7 cm

Works • 10 artworks.

Painting | 35.6x25.4 cm

Oil | 61x91.4 cm

Painting | 61x91.4 cm

Painting | 91.4x91.4 cm

Painting | 25.4x20.3 cm

Painting | 121.9x61 cm

Shaped frame • 15 artworks.

Painting | 7.6x12.7 cm

Painting | 91.4x152.4 cm

Painting | 182.9x61 cm

Painting | 15.2x20.3 cm

Painting | 34x34 cm

Painting | 121.9x121.9 cm

Painting | 15.2x15.2 cm

Painting | 152.4x152.4 cm

self-portrait • 31 artworks

Drawing | 22.9x22.9 cm

Drawing | 25.4x20.3 cm

Drawing | 20.3x15.2 cm

Drawing | 25.4x15.2 cm

Drawing | 27.9x15.2 cm

Drawing | 78.7x48.3 cm

Drawing | 25.4x12.7 cm

Drawing | 30.5x22.9 cm

Sold artworks • 12 artworks.

Painting | 50.8x63.5 cm

Drawing | 66x40.6 cm

Drawing | 132.1x76.2 cm

Recognition.

• Date of birth : 1950
• Artistic domains:
• Groups: Contemporary American Artists

Artist value certified

Achievements, activity on artmajeur, latest news all the latest news from contemporary artist esp---art, press release, expos collective (listing).

SPACES ~ ~ ~ 2220 Superior Viaduct, Cleaveland, Ohio, 44113, usa Nimbus gallery ~ ~ ~ W. 25th., Cle.,Oh.,usa Mandel Sciences gallery ~ ~ ~ Cle.,Oh.,usa Winton Place gallery ~ ~ ~ Lakewood,Oh.,usa

To be able, to do as I can; until I can't be, able to do.

Expos Solo (Listing)

In my studio firewalking ~ ~ ~ 95 - zero attempt to reach another existence ~ ~ ~ 031999

custody of my kids ~ ~ ~ 01 83

I'm scared

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