Developmental Changes in Early Comprehension and Production of Drawings: Evidence From Two Socioeconomic Backgrounds

Two studies examined young children's comprehension and production of representational drawings across and within 2 socioeconomic strata (SES). Participants were 130 middle-SES (MSES) and low-SES (LSES) Argentine children, from 30 to 60 months old, given a task with 2 phases, production and comprehension. The production phase assessed free drawing and drawings from simple 3-dimensional objects (model drawing); the comprehension phase assessed children's understanding of an adult's line drawings of the objects. MSES children solved the comprehension phase of the task within the studied age range; representational production emerged first in model drawing (42 months) and later in free drawing (48 months). The same developmental pathway was observed in LSES children but with a clear asynchrony in the age of onset of comprehension and production: Children understood the symbolic nature of drawings at 42 months old and the first representational drawings were found at 60 months old. These results provide empirical evidence that support the crucial influence of social experiences by organizing and constraining graphic development.     

Social Emotions in Children's Human Figure Drawings: Drawing Shame,Pride and Jealousy

The study examines children's ability to convey social – as opposed to basic – emotions in their human figure drawings. One hundred children aged 4‐, 6‐ and 8‐years were asked to draw a person experiencing shame, pride, jealousy, happiness, sadness and fear as well as a baseline figure ‘feeling nothing’. Drawings were rated in terms of (i) overall emotional expressiveness and (ii) variety and types (face, body/posture and context) of graphic cues used to convey emotion. The effect of age on overall expressiveness and use of these graphic cues was also investigated. The results showed that drawings depicting social emotions were rated as less expressive and presented fewer graphic cues than those conveying basic emotions. Children's developing ability to depict pride, shame and jealousy was largely driven by an increased use of contextual cues in their human figure drawings. As regards the effect of age, it was found that 6‐ and 8‐years old produced more expressive drawings containing a larger range of graphic cues than the 4‐year olds. Copyright © 2015 John Wiley & Sons, Ltd.     

Expressive drawing ability in children with autism

The autistic impairments in emotional and social competence, imagination and generating ideas predict qualitative differences in expressive drawings by children with autism beyond that accounted by any general learning difficulties. In a sample of 60 5–19‐year‐olds, happy and sad drawings were requested from 15 participants with non‐savant autism and compared with those drawn by three control groups matched on either degree of learning difficulty (MLD), mental age (MA) or chronological age (CA). All drawings were rated by two artists on a 7‐point quality of expression scale. Contrary to our predictions, the drawings from the autistic group were rated similar to those of the MA and MLD groups. Analysis of the people and social content of the drawings revealed that although children with autism did not draw fewer people, they did draw more immature forms than mental age controls. Furthermore, there was tentative evidence that fewer social scenes were produced by the autism sample. We conclude that the overall merit of expressive drawing in autism is commensurate with their general learning difficulties, but the social/emotional impairment in autism affects their drawings of people and social scenes.     

Maternal Expressive Style and Children's Emotional Development

Maternal expressive styles, based on a combination of positive and negative expressive patterns, were identified at two points in time and related to multiple aspects of preschool children's emotional development. Mother–child pairs from 260 families participated when the children were 3 years old, and 240 participated again at aged 4 years. Expressive styles were identified at age 3 using cluster analysis, replicated at age 4 and examined in relation to children's emotional understanding, expressiveness and regulation. Three expressive styles were identified: high positive/low negative, very low positive/average negative and average positive/very high negative. Cluster membership was stable in 63% of families from age 3 to 4 years; no systematic patterns of change were evident in the remaining families. Expressive style was related to aspects of children's emotional expression at 3 years and to emotion expression and regulation at 4 years. Children's expressiveness and regulation at age 3 were also related to changes in mothers' expressive styles over 1 year. Identifying mothers' expressive styles provides a unique way to understand the potential role of the emotional climates in which preschool‐aged children learn to express and regulate their own emotions. Copyright © 2011 John Wiley & Sons, Ltd.     

Parents' Emotion‐Related Beliefs,Behaviours, and Skills Predict Children's Recognition of Emotion

Children who are able to recognize others' emotions are successful in a variety of socioemotional domains, yet we know little about how school‐aged children's abilities develop, particularly in the family context. We hypothesized that children develop emotion recognition skill as a function of parents' own emotion‐related beliefs, behaviours, and skills. We examined parents' beliefs about the value of emotion and guidance of children's emotion, parents' emotion labelling and teaching behaviours, and parents' skill in recognizing children's emotions in relation to their school‐aged children's emotion recognition skills. Sixty‐nine parent–child dyads completed questionnaires, participated in dyadic laboratory tasks, and identified their own emotions and emotions felt by the other participant from videotaped segments. Regression analyses indicate that parents' beliefs, behaviours, and skills together account for 37% of the variance in child emotion recognition ability, even after controlling for parent and child expressive clarity. The findings suggest the importance of the family milieu in the development of children's emotion recognition skill in middle childhood and add to accumulating evidence suggesting important age‐related shifts in the relation between parental emotion socialization and child emotional development. Copyright © 2014 John Wiley & Sons, Ltd.     

Children's Creative Intentions: Where do the Ideas for their Drawings Come from?

The process of drawing is a creative endeavor, often beginning with ideas of what to draw. This exploratory study aimed to explore these creative intentions of pupils from mainstream schools (tending to focus on observational, imaginative, and expressive drawing), and from Steiner schools (tending to focus on imagination and expression). Fifty-seven children (age 6–16 years) drew a single drawing at the request of the researcher. Before and after drawing, children completed a semi-structured interview about the content of their drawing. This interview was first analyzed qualitatively using thematic analysis to describe where children got the ideas for their drawings from. Four key themes were identified: (a) content from immediate surroundings, (b) content from memory, (c) representational content with element of imagination added, and (d) intention to express a mood or message. Content analysis was then used to quantify the interview responses and compare them between the school types. This indicated no difference in the frequency that mainstream and Steiner pupils referred to ideas based on real-world referents or imagination. However, Steiner pupils talked more about expressive ideas. The results suggest that children use a wide range of sources when generating ideas of what to draw, including their educational experiences.     

The development of children's expressive drawing

Two studies are presented on expressive happy and sad drawings made by British 4‐ to 12‐year‐olds (n = 80 and 160, respectively) in which the drawings were assessed individually for the quantity and quality of expressive devices. Quantity was measured in the number of appropriate expressive content themes and formal properties evident in each drawing. Quality was rated on a Likert scale on the extent to which the drawing expressed the intended mood. Both the quantity and quality of expressive happy and sad drawings of predetermined and free topics increased with age. Improvements in content expression, but much less so with expressive formal properties, accounted for the development of quantity. A slower period of development between 6 and 9 years for both measures was consistently found, with a significant improvement often shown among the 12‐year‐olds. The finding that happy drawings were scored higher than sad drawings is explained in respect of adult and child expectations of pictures. Correlations between expressive scores and performance on a visual realism drawing task tentatively indicated that expressive and realism skills in drawing are only weakly related. The development of expressive drawing is considered in the context of the delivery of art education in schools.     

The Role of Cognitive Flexibility in the Spatial Representation of Children's Drawings

Representing the spatial appearance of objects and scenes in drawings is a difficult task for young children in particular. In the present study, the relationship between spatial drawing and cognitive flexibility was investigated. Seven- to 11-year-olds (N = 60) were asked to copy a three-dimensional model in a drawing. The use of depth cues as an indicator of spatial drawing was examined. Furthermore, cognitive flexibility was assessed by three measures: the Wisconsin Card-Sorting Test 64 (reactive flexibility), the Five-Point Test (spontaneous flexibility), and omission/inclusion (representational flexibility). The results revealed significant relationships between all measures of flexibility and the depth cues in children's drawings. However, only spontaneous and representational flexibility turned out to be significant predictors of the spatial drawing score. The results are discussed in light of the specific requirements of spatial representations in drawings.     

Drawing Conclusions--Or Not-From Drawings

Riethmiller and Handler (this issue) critiqued our article on drawing indices and emotional distress (Joiner, Schmidt, & Barnett, 1996). On several counts, we find their points unconvincing. Specifically, we reject the possibilities that our null results are explained by (a) the distinction between self-attributed and implicit motives, (b) measurement error, and (c) curvilinear relations between variables. Furthermore, we document, using Riethmiller and Handler's own data, that previous research on drawings, construed by Riethmiller and Handler as supportive, actually undermines the validity of drawings as indices of emotional distress.     

Does Children's Colour Use Reflect the Emotional Content of their Drawings?

When children draw in clinical contexts, clinicians sometimes rely on children's colour use to make inferences about their emotional reaction to the subject of the drawing. Here, we examined whether children use colour to portray emotion in their drawings. In Experiment 1, children indicated their colour preferences and then coloured in outlines of figures characterized as nasty or nice. Children also drew complex, multi‐coloured pictures about their own happy or sad experiences. In Experiment 2, hospitalized children drew about being worried or scared in hospital and about their positive experiences. In both experiments, we examined the relation between children's colour use and their colour preferences. Three‐ to 10‐year‐old children used more preferred colours to colour in the nice outline. Although they were more likely to use non‐preferred colours to colour in the nasty outline, they tended to used a mix of preferred and non‐preferred colours. When both normal and hospitalized children produced drawings about positive and negative events, there was no relation between children's colour choices and their colour preferences; children primarily used preferred colours. These data suggest that clinicians should exercise extreme caution when interpreting the meaning of colour in children's drawings. Copyright © 2011 John Wiley & Sons, Ltd.     

Educational Intervention and the Development of Young Art Students' Talent and Creativity

This study focuses on behavior associated with young art students' developing artistic talent (skills and art‐making behavior) and creativity (personal expressions of visual information). The study examines the role of personal expertise in a student's development of problem finding, domain‐specific technical skill, perseverance, evaluation, and creative ideation. The study compares 30 experienced art students' artistic processing and products with those of 29 novice art students. Both groups are 7‐ through 11‐year‐olds. The author recorded participants' behavior as they created drawings in two contexts — from imagination and from life — and three adult artists then assessed the technical skill and creativity revealed in the drawings. Multivariate analyses of the variables associated with the drawing products and processes offer evidence of the changes related to the students' developing expertise in both novice and experienced groups. This study finds that the drawing situation (life or imagination) interacts clearly with the relationships among hypothesized components of creativity, gender, and predictors of expertise. Technical skill, perseverance, modifications, and creativity in drawings from life were significant predictors of expertise. Modifications, efficient problem finding, and creativity in drawings from imagination were additional significant predictors of expertise. Gender was found to be a measurable factor in both the artistic process and the assessments of drawings from imagination. The findings are discussed within the context of three conceptions: artistic talent, developing creativity, and art education.     

Normal and unusual aspects of juvenile artistic development in Klee,Lautrec, and Picasso

This article integrates material from the biographies of three world‐class artists and material from current social‐science research on the development of creative individuals. The author examined the juvenile drawings of Klee, Lautrec, and Picasso. In this article he describes the ways in which these children's drawings are both “unusual”; and ordinary. Reproductions of drawings are included with the text in order to illustrate and support the observations about the development and quality of the three children's work. The concluding section of this article uses Csiks‐zentmihaly's systems approach to giftedness and proposes that more research is needed to examine the drawing development of children from a variety of cultures and backgrounds. Children to be included in such an investigation range from autistic child artists to children from nonwestern cultures in which the visual arts are singled out for support. In developing a broad collection of case studies, such as the ones proposed, the significant characteristics of the visually gifted child may emerge in sharper focus.     

How does Sam feel?: Children's labelling and drawing of basic emotions

This study compares the ability of children aged from 6 to 11 to freely produce emotional labels based on detailed scenarios (labelling task), and their ability to depict basic emotions in their human figure drawing (subsequent drawing task). This comparison assesses the relevance of the use of a human figure drawing task in order to test children's comprehension of basic emotions. Such a comparison has never been undertaken up to now, the two tasks being seen as belonging to relatively separate fields of investigation. Results indicate corresponding developmental patterns for both tasks and a clear‐cut gap between simple emotions (happiness and sadness) and complex emotions (anger, fear, and disgust) in the ability to label and to depict basic emotions. These results suggest that a drawing task can be used to assess children's understanding of basic emotions. Results are discussed according to the development of perceptual skills and the development of emotion conceptualization.     

Language development of pre‐school children born to teenage mothers

An Erratum has been published for this article in Infant and Child Development 10(4) 2001, 241. This paper compares the language development of pre‐school children born to teenage (n=22) and comparison mothers (n=20) and examines the extent to which differences in language development can be explained by social background, child and parenting factors. Mothers and children were assessed at home using a range of measures, including a structured interview, the language scales of the Child Development Inventory, the HOME Inventory, and videotaped mother‐child interaction. Results showed that children of teenage mothers perform significantly poorer than children of comparison mothers on measures of expressive language and language comprehension. Subsequent analyses showed that these differences are largely explained by differences in the parenting behaviour of teenage and comparison mothers. Specifically, maternal verbal stimulation and intrusiveness accounted for the relationship between teenage motherhood and children's poorer language comprehension, while maternal intrusiveness and involvement with the child account for the relationship between teenage motherhood and children's poorer expressive language development. These findings highlight the importance of early mother–child interaction for children's language development. Copyright © 2001 John Wiley & Sons, Ltd.     

On the relationship between children's perspective taking in complex scenes and their spatial drawing ability

Depicting space and volume in drawings is challenging for young children in particular. It has been assumed that several cognitive skills may contribute to children's drawing. In the present study, we investigated the relationship between perspective‐taking skills in complex scenes and the spatial characteristics in drawings of 5‐ to 9‐year‐olds (N= 121). Perspective taking was assessed by two tasks: (a) a visual task similar to the three‐mountains task, in which the children had to select a three‐dimensional model that showed the view on a scene from particular perspective and (b) a spatial construction task, in which children had to plastically reconstruct a three‐dimensional scene as it would appear from a new point of view. In the drawing task, the children were asked to depict a three‐dimensional scene exactly as it looked like from their own point of view. Several spatial features in the drawings were coded. The results suggested that children's spatial drawing and their perspective‐taking skills were related. The axes system and the spatial relations between objects in the drawings in particular were predicted, beyond age, by certain measures of the two perspective‐taking tasks. The results are discussed in the light of particular demands that might underlay both perspective taking and spatial drawing.     

Children's drawings of significant figures for a peer or an adult audience

The present study assessed if children would present different information in their drawings of emotion eliciting stimuli when they believed that an adult or a child audience would view their drawings. Seventy‐five 6‐year‐olds (44 boys and 31 girls) were allocated to three groups: the reference group, the child audience group and the adult audience group. All children completed a drawing session where they first drew a neutral uncharacterised figure, followed by drawings of a sad and a happy figure in counterbalanced order. Findings demonstrated that children did consider who would be viewing their drawings when communicating emotional affect and included different features within their drawings. In particular, almost all happy drawings included a smile, but only those drawings where an audience was specified included a wave, and only the adult drawings included flower giving. Within the sad drawings tears and frowns were drawn regardless of audience type, whereas stomping was more likely to be portrayed in drawings with a child audience and thumbs down were more likely to be portrayed in drawings with adult audiences. The findings are discussed in terms of the need to further examine communicative aspects of children's drawings. Copyright © 2011 John Wiley & Sons, Ltd.     

Perspective taking in children's narratives about jealousy

This study explored relationships between perspective‐taking, emotion understanding, and children's narrative abilities. Younger (23 5‐/6‐year‐olds) and older (24 7‐/8‐year‐olds) children generated fictional narratives, using a wordless picture book, about a frog experiencing jealousy. Children's emotion understanding was assessed through a standardized test of emotion comprehension and their ability to convey the jealousy theme of the story. Perspective‐taking ability was assessed with respect to children's use of narrative evaluation (i.e., narrative coherence, mental state language, supplementary evaluative speech, use of subjective language, and placement of emotion expression). Older children scored higher than younger children on emotion comprehension and on understanding the story's complex emotional theme, including the ability to identify a rival. They were more advanced in perspective‐taking abilities, and selectively used emotion expressions to highlight story episodes. Subjective perspective taking and narrative coherence were predictive of children's elaboration of the jealousy theme. Use of supplementary evaluative speech, in turn, was predictive of both subjective perspective taking and narrative coherence.     

Maternal depression and children's attachment representations during the preschool years

This longitudinal study aimed to investigate the impact of chronic and transient maternal depression on children's attachment representations at 4 years of age measured with the Attachment Story Completion Task ( Bretherton, Ridgeway, & Cassidy, 1990 ). The impact of concurrent maternal depressive symptoms was also considered. A secondary aim was to investigate the continuity of attachment classification at 15 months with child attachment representations at 4 years. Children of mothers who were concurrently depressed were more likely to have attachment representations characterized by uncontained physical aggression. In contrast, there were no significant relationships between exposure to prior chronic maternal depression and children's attachment representations at 4 years, nor were there any significant relationships between behavioural assessments of attachment during infancy and later representational assessments. Findings are discussed in the context of caregiving behaviours that may foster secure attachment relationships and influence a child's social‐emotional development, limitations of representational measures, as well as poor attachment stability.