The Multidimensional Scaling Of A Set Of Artistic Drawings : Perceived Structure And Scale Correlates

Product-centered research on creativity approaches the criterion problem of what is to be the referent for creativity through the analysis of tangible products such as a r t objects, writing, or scientific achievements. The present research is concerned with the evaluation and study of artist drawings contributed by sophomore students a t the Rhode Island School of Design. Multi-dimensional scaling methods were applied to similarity judgments obtained from art experts on two separate sets of 26 drawings. Three similarity dimensions accounted for the interstimulus distances for each set of drawings. Although no statistical test was available, the dimensions from the two seta appeared to correspond. Scale values of 4 drawings common to the two sets were consistent, and the dimensions appeared to define very similar stimulus characteristics. It was concluded that multidimensional scaling procedures provided a means for differentiating among a set of complex, esthetic products. Scale values of drawings on the three dimensions also correlated differentially with cognitive and achievement measures available on the students, suggesting that product dimensions identified via similarity judgments were related to characteristics of individuals producing the products. Hypotheses were developed as to the psychological meaning of the three product dimensions.     

17,000 years of depicting the junction of two smooth shapes

Competent realistic drawings preserve viewpoint-invariant shape characteristics of simple parts, such that a contour in the object that is straight or curved, for example, is depicted that way in the drawing. A more subtle invariant--a V-shaped singularity of the occluding boundary, containing a T-junction and a contour termination--is produced at the junction between articulated smooth surfaces, as with the leg joining the body of a horse. 45% of the drawings made in 2007 by individuals with only minimal art education correctly depicted such junctions, a proportion that is not reliably different from the incidence (42%) of correct depictions in a large sample of cave art made 17000 years ago. Whether a person did or did not include the invariant in their drawing, all agreed that it made for a better depiction.     

Body proportions as information for age and cuteness: animals in illustrated children's books

Growth systematically changes the body proportions of both humans and animals so that the ratio of head height to body height decreases with age. Prior studies have demonstrated that body proportions provide effective information for age perception. To test the proposal that illustrators incorporate this information into their drawings, measurements were made of the head and body heights of 100 pairs of animals appearing in children's picture books. In 93 pairs, the animal intended to be perceived as older had a smaller head-to-body ratio than did the younger animal. Ratings collected for 25 of these pairs showed that both perceived age and cuteness are significantly correlated with body proportions. The magnitudes of the correlations were only modest, suggesting that other aspects of the drawings influenced perceived age and cuteness. In addition, observers reported that body proportions are only one of a variety of factors influencing age and cuteness perception. As has been found in other studies, perceived age and cuteness were negatively correlated.     

Body proportions as information for age and cuteness: Animals in illustrated children’s books

Growth systematically changes the body proportions of both humans and animals so that the ratio of head height to body height decreases with age. Prior studies have demonstrated that body proportions provide effective information for age perception. To test the proposal that illustrators incorporate this information into their drawings, measurements were made of the head and body heights of 100 pairs of animals appearing in children’s picture books. In 93 pairs, the animal intended to be perceived as older had a smaller head-to-body ratio than did the younger animal. Ratings collected for 25 of these pairs showed that both perceived age and cuteness are significantly correlated with body proportions. The magnitudes of the correlations were only modest, suggesting that other aspects of the drawings influenced perceived age and cuteness. In addition, observers reported that body proportions are only one of a variety of factors influencing age and cuteness perception. As has been found in other studies, perceived age and cuteness were negatively correlated.     

Size of drawings influences body size estimates by women with and without eating concerns

Research has inconsistently shown that women, particularly those with eating concerns, inaccurately estimate their body size. In the present study, drawings of female bodies, ranging from emaciated to obese, were presented to women with and without eating concerns. Drawings approximated the women's actual height or were reduced (15.7 cm). Women selected the drawing that represented how they thought they looked (cognitive rating), felt they looked (affective rating), and would like to look (desired rating). Women tended to select larger drawings when reduced-size drawings were used. Participants with eating concerns overestimated their body size and were more dissatisfied with their body size than participants without eating concerns. Size of drawings and the presence of eating concerns did not affect ratings of the size of a neutral object. Women did not demonstrate a generalized problem in estimating size. Overestimation of body size may be exaggerated in research that used reduced-size drawings.     

Discriminative and associative aspects of retroactive inhibition

Original learning of paired drawings of meaningful objects or of modified Chinese characters was followed by interpolated learning in which details of drawings were changed in one of two degrees with or without rearrangement of the original pairings. Subjects were tested for accuracy of identification of the original drawings and for associative matching of the original pairs. Identification errors were attributed jointly to confusion between original and interpolated drawings, and to unlearning of those features of original drawings which were in conflict with comparable features of interpolated drawings. Rearrangement of pairs during interpolated learning produced not only associative interference on the matching test, but also additional discriminatory interference on the identification test. Effects of associative and discriminative interference upon individual drawings were uncorrelated for meaningful material and only slightly correlated for meaningless material.     

Recognition of Line-Drawing Representations by a Chimpanzee (Pan troglodytes)

The ability of a chimpanzee to recognize individuals portrayed in line drawings was evaluated. A 12-year-old female chimpanzee with extensive prior experience in the use of visual symbols matched the line drawings of chimpanzees, humans, and an orangutan with a specific letter of the alphabet. When a line drawing of a familiar individual was presented on the computer screen, the chimpanzee responded by punching a key with the letter of the alphabet that corresponded to the individual's name. Results indicate that the chimpanzee is able to categorize individuals from novel line-drawing representations.     

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.     

The Representation of the Body Self in Human Figure Drawings

The matching of 25 frontal drawings of the female human figure with 25 frontal photographs of the college women who drew the figures was attempted by 30 male graduate psychology students and 30 women religious graduate students of art. The drawings and photos were arranged in envelopes according to a balanced lattice design, and presented to each of the judges in different envelopes in an order determined by randomized latin squares. Both groups matched the drawings with the photographs of the same Ss at significantly higher than chance expectancy (p<.01). These findings suggest that this matching technique may be of some value in testing the hypothesis of objective body self projection in human figure drawings.     

Picture and pattern perception in the sighted and the blind: the advantage of the late blind

Two experiments are reported on the contribution of visual experience to tactile perception. In the first experiment, sighted, congenitally blind, and late blind individuals made tactual matches to tangible embossed shapes. In the second experiment, the same subjects attempted tactile identification of raised-line drawings. The three groups did not differ in the accuracy of shape matching, but both groups of blind subjects were much faster than the sighted. Late blind observers were far better than the sighted or congenitally blind at tactile picture identification. Four of the twelve pictures were correctly identified by most of the late blind subjects. The sighted and congenitally blind performed at comparable levels in picture naming. There was no evidence that visual experience alone aided the sighted in the tactile task under investigation, since they performed no better than did the early blind. The superiority of the late blind suggests that visual exposure to drawings and the rules of pictorial representation may help tactile picture identification when combined with a history of tactual experience.     

Human Figure Drawings as Predictors of Admission to a Psychiatric Hospital

Blind predictions were made as to admission or non-admission as an overall rating and as to degree of pathology in eight areas of personality, based only on human figure drawings. These drawings were obtained from a sample of 105 individuals presenting for psychiatric hospital admission. The judgments were all in the predicted direction and significant for admission-non-admission, impulsivity, and severity of pathology. Cues utilized in the successful judgments were categorized as structural or content and scaled by degree of pathology. Structural cues predominated. We conclude that HFD's are a useful screening device for clinical judgment of degree of psychopathology. The basis of such judgments can be specified in terms of structural deviations rather than from symbolic content.     

Artistic creation as stimulated by superimposed versus combined-composite visual images

The creative role of homospatial thinking in visual art was assessed in an experiment with 39 highly talented young artists. In order to compare the creative effects of visual elements occupying the same space with identical elements arrayed in a combined foreground and background organization, superimposed slide images were presented to a randomly selected portion of the subject group, and the other portion of the subject group viewed the same slide images constructed into a figure-ground composite. Both groups produced three drawings stimulated by the slide stimuli, and these drawings were independently judged by three art experts. Results were that drawings produced by the group exposed to the superimposed images were rated higher in creative potential than those stimulated by the figure-ground controls. These results extend previous experimental findings of a tendency toward homospatial thinking in creative individuals in literature and visual art.     

Perspective taking, pictures, and the blind

Congenitally blind, late blind, and blindfolded sighted controls attempted a Piagetian perspective-taking (three-mountain) task. Piaget used the term perspective to mean point of view (Piaget & Inhelder, 1967, p. 210), and the present usage does not imply linear perspective. Subjects used raised-line drawings to depict alternative points of view of an array of three geometric solid forms (cube, cone, and ball). They then identified the point of view of raised-line drawings. The effect of visual status on accuracy was nonsignificant for both response measures. Using alternating vision of the array and drawings, sighted subjects in a control condition performed like the congenitally blind. However, congenitally blind individuals did require more time than the other subjects for the perspective-taking task. In an additional experiment, no difference was found between the three groups in the accuracy or speed of tactile shape matching. The results suggest that visual imagery and visual experience are not necessary for tactile perspective taking.     

Ascription of Maturity to Human Figure Drawings by Preschool Children

Summary

Forty-five preschool children, shown outline human figure drawings (all arbitrarily drawn to the same stature) whose overall body proportions were typical of individuals aged 0, 2, 6, 12, and 25 years, generally distinguished more maturely from less maturely proportioned figures, the absence of nonproportion cues to maturity notwithstanding. This is noteworthy, since agerelated changes in stature and in proportion are confounded in nature, and since our culture emphasizes stature cues and neglects proportion cues to maturity. Although Ss generally distinguished more mature from less mature figures on the basis of body proportions, the proportions of immature individuals nonetheless tended to be assimilated to those of the mature individual.     

Body-size stigmatization by preschool girls: In a doll's world,it is good to be “Barbie”

A number of studies have measured body size stigmatization, that is, the assigning of negative characteristics to individuals who are considered fat, in samples of children as young as preschool-age. The results of such studies are fairly consistent, but may be criticized for the abstract nature of the line drawings typically used as test stimuli. In the present study the utility of using toy dolls to gauge young girls’ views toward different body shapes was assessed. Forty girls ages 3½–5½ were asked to assign various traits to one of three dolls (thin, average, and fat). As with previous work, responses fell out in a stereotypical pattern, with the positive characteristics attributed most often to the thin or average doll and all of the negative characteristics most often to the fat doll. The strengths and weaknesses of this doll paradigm in studies of body-size stigmatization by young children are discussed.     

Method of presentation and sex differences when using a revised figural drawing scale to measure body size estimation and dissatisfaction

The present study examined whether a revision of the Gardner, Jappe, and Gardner (2009) BIAS-BD figural drawing scale gave more accurate estimations of body size estimation and body dissatisfaction than a prior version. It also examined whether the order of figure presentation led to differing values for body size estimation and body dissatisfaction. The revised BIAS-BD scale included a continuous line beneath 17 figural drawings ordered in either ascending or descending size. Results were compared with previous studies using the original scale in which the 17 figural drawings were presented in a random order and, additionally, with a method using an adjustable video image by which the participants estimated their perceived body size by adjusting the width of their static image. The scale was presented to 330 undergraduate university students, including 199 women and 131 men. Overall, compared to BMIs calculated from the participants' reports of their height and weight, men and women participants gave less accurate estimations of body size using the revised scale when compared to the original BIAS-BD scale and video methodology. Participants reported significantly less body dissatisfaction than with the original scale. There was no significant difference in body size estimation when the figures were presented in ascending or descending size. Body dissatisfaction was greater for women than men, and when the figures were presented in descending order. Methodological considerations for using figural drawing scales in body image research are discussed.     

Evolutionary-derived anatomical characteristics and universal attractiveness

Hominid fossils illustrate how modern humans have evolved anatomically. Included in the fossils are traits no longer phenotypically prevalent in humans (primitive) and phenotypic traits that have become increasingly prevalent (derived). In this study, published paleontological information about the anatomical evolution of humans was used to create line drawings of human form. Survey data were accumulated by having 759 individuals evaluate more than 40 anatomical traits. Each anatomical trait was presented as a panel of three line drawings intended to express the trait in a primitive, intermediate, and derived form. For each panel of three drawings, subjects were instructed to select the drawing they considered most attractive and then select the drawing they considered least attractive. The survey data indicate that males and females of diverse ages, races, cultures, and from varied geographical regions show commonality in their judgements of beauty of human form. The individuals surveyed appeared to have a strong aversion to primitive traits, preferring proportions and characteristics that are intermediate or more derived. In many instances, the evaluators preferred drawings that were exaggeratedly derived. The data may have relevance to the ongoing debate of whether averageness or atypicality is the essence of human beauty. Also, there was high agreement in judging the attractiveness of shapes and proportions in line drawings that were not immediately recognized to be representations of human form. These data could indicate that our general aesthetic sense for art, architecture, and fashion may be based on a subliminal reference to derived anatomical shapes and proportions. Overall, the data support the hypothesis that derived traits that are universally shared by anatomically modern humans may be the standard for our innate sense of beauty of human form.     

HUMAN FIGURE DRAWINGS BY NORMAL AND PHYSICALLY HANDICAPPED CHILDREN: DRAW-A-PERSON TEST

N ielsen , H elle H. Human figure drawings by normal and physically handicapped children. Scand. J. Psychol ., 1961, 2 , 129–138.—Cerebral palsied children (spastic hemiplegia and paraplegia) were compared with normal children on nineteen formal variables of Draw-a-Person Test. Contrary to prediction, no differences were found between the experimental and matched control group, but one variable (Extremities lacking) was scored more frequently on hemiplegic than on paraplegic children. A comparison of the two groups showed that a significantly larger number of spastic drawings than normal drawings had a Goodenough IQ that was more than 10 points lower than their Binet IQ. A clinical psychologist, with much experience of figure drawings, sorted the drawings better than chance, only informed about age and IQ of the subject.