Intellectual realism in children's drawings of cubes

Ninety-six children copied simple line drawings of perspective views of cubes and similar designs unlikely to be seen as representing objects. The views of cubes were copied much less accurately than the non-object patterns, and the errors made in copying the cubes involved replacement of properties specific to the single perspective view by properties more appropriate to the object itself. Some copies were drawn with the child continually looking at the model and unable to see his own copy, others were drawn in the normal way. Copies made in the former way were more accurate, but even under these conditions cubes were copied less accurately than the non-object patterns. The disadvantage of object pictures, as far as literal copying accuracy is concerned, was still present at 9 1/2 years of age, but was less than at 7 1/2. Two possible explanations are discussed. One is in terms of computational complexity, the other in terms of graphic motor schema. On the basis of the drawings obtained a few suggestions are made about the content and development of the data-structures for cubes.     

Serial Projective Drawings in a Patient with a Malignant Brain Tumor

A series of human figure drawings is presented illustrating a patient's reaction to the knowledge and the effects of his malignant brain tumor. The drawings reveal a subjective state concealed clinically by the patient's effort and obscured in the Rorschach by stereotypy and coarctation. The skill of the graphic portrayals is a deviation from the growing body of material which demonstrates drawing dyspraxia with parietal lobe lesions. The hypothesis is offered that the diagonal placement of a figure is a projection of the loss of equilibrium rather than an impairment in drawing perspective as it has been considered heretofore. This case is part of a larger on-going study in the use of projective techniques with brain damaged patients.     

da Vinci's window facilitates drawings of total and partial occlusion in young children

When two or more objects are present in a scene, children 5 and 6 years of age rarely draw the scene such that one object totally or partially occludes another object. Instead they draw complete objects. The present study separated two components of drawing: perspective taking and graphic skill. Perspective taking was examined by comparing a free viewing condition with a restricted viewing condition in which a model could only be viewed through four apertures. Graphic skill was examined by comparing drawings requiring total occlusion with drawings requiring partial occlusion under both viewing conditions. Experiment 1 showed that 90% of 5- and 6-year-olds drew total occlusions under restricted viewing conditions but only 32% did so in the free viewing condition. Experiment 2 showed that drawings of partial occlusion were unaffected by viewing condition among 5-year-olds, but that restricted viewing increased the number of partial occlusions that 6-year-olds drew. Thus, failures of young children to draw occlusions have less to do with graphic skill than was previously thought. Instead, it is suggested that young children have a more general difficulty selecting one perspective and maintaining it over time.     

Contribution of the visual perception and graphic production systems to the copying of complex geometrical drawings: A developmental study

The aim of this study was to determine the contribution of the visual perception and graphic production systems [Van Sommers, P. (1989). A system for drawing and drawing-related neuropsychology. Cognitive Neuropsychology, 6, 117–164] to the manifestation of the “Centripetal Execution Principle” (CEP), a graphic rule for the copying of drawings consisting of embedded simple geometric shapes from the outside shape to the inside shape. Children aged 4–8 years copied two types of model that differed in the visual salience of one of the simple geometric shapes (drawn in bold or normal weight lines), producing the drawings either by graphic execution (freehand) or by superimposing the simple geometric shapes. The results indicated that the frequency of CEP depended both on the type of model and on the drawing context in the youngest children. They suggest that the CEP is determined by the structure of the representation of the models and the planning of the execution of the drawings. The developmental differences in the effects of visual salience and execution context are discussed in the light of the development of representational flexibility and planning abilities. These data are consistent with a dissociation between the visual perception and graphic production systems and account for their interaction.     

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.     

Expression of the emotions in the drawing of a man by the child from 5 to 11 years of age]

This study examines the development of children's ability to express emotions in their human figure drawing. Sixty children of 5, 8, and 11 years were asked to draw "a man," and then a "sad", "happy," "angry" and "surprised" man. Expressivity of the drawings was assessed by means of two procedures: a limited choice and a free labelling procedure. Emotionally expressive drawings were then evaluated in terms of the number and the type of graphic cues that were used to express emotion. It was found that children are able to depict happiness and sadness at 8, anger and surprise at 11. With age, children use increasingly numerous and complex graphic cues for each emotion (i.e., facial expression, body position, and contextual cues). Graphic cues for facial expression (e.g., concave mouth, curved eyebrows, wide opened eyes) share strong similarities with specific "action units" described by Ekman and Friesen (1978) in their Facial Action Coding System. Children's ability to depict emotion in their human figure drawing is discussed in relation to perceptual, conceptual, and graphic abilities.     

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.     

Influence of typical size of objects in a categorization task]

This study explores the influence of typical size during a categorization task. The specificity of this experimental work is based on the homogeneity of the graphic stimuli size. We have created a typical size standard of our stimuli, that concerns the real size of the objects represented by the drawings of homogeneous sizes. Then, a priming experiment was performed in which the prime and target drawings had two types of relations: a typical size, and a categorial. The participants are na?ve as to the typical size relation between prime and target. The results show a positive priming effect of the typical size but not of the category. The results are discussed in term of theoretical approach developed by Barsalou and his colleagues (1999, 2003). In this theoretical framework, the typical size can be considered as a perceptual knowledge. In that way, we propose that participants could automatically simulate the typical size as soon as they perceived the drawings of objects with homegenous sizes.     

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.     

Ambiguity and structural information in the perception of reversible figures

The perspective reversals elicited by a set of drawings based on the Mach truncated pyramid are examined. We obtained each pattern of the set from the previous one by adding to it some graphic cues, which were easily integrated into one of the two competing interpretations, thus reducing step by step the ambiguity of the basic pattern. The phenomenological model, proposed to link the mean times of both alternative interpretations with their complexities, is in close agreement with our experimental data. Furthermore, different aspects of such data are well described by the model equations: The measure of the prevalence of the supported interpretation is well correlated with the difference in complexity between the two alternative interpretations; the two different trends of the mean time of the unfavored interpretation, found in the data obtained from different observers as a function of the various patterns of the set, are well fitted by the model without the need for any specific additional hypothesis.     

Drawing with divergent perspective, ancient and modern

Before methods for drawing accurately in perspective were developed in the 15th century, many artists drew with divergent perspective. But we found that many university students draw with divergent perspective rather than with the correct convergent perspective. These experiments were designed to reveal why people tend to draw with divergent perspective. University students drew a cube and isolated edges and surfaces of a cube. Their drawings were very inaccurate. About half the students drew with divergent perspective like artists before the 15th century. Students selected a cube from a set of tapered boxes with great accuracy and were reasonably accurate in selecting the correct drawing of a cube from a set of tapered drawings. Each subject's drawing was much worse than the drawing selected as accurate. An analysis of errors in drawings of a cube and of isolated edges and surfaces of a cube revealed several factors that predispose people to draw in divergent perspective. The way these factors intrude depends on the order in which the edges of the cube are drawn.     

Representational drawings of solid objects by young children

Two groups of children aged 6 and 8 years were given three tasks requiring graphical representations of solid geometric forms. These tasks were drawing from life models, copying from photographs, and copying from line drawings of these objects. Performance was assessed on the basis of level of approximation to correct perspective. Older children used more perspective features than younger children in their drawings. At all ages, the drawings from life were most difficult. Results on the two copying tasks were not consistent. Drawings made by copying photographs were either as advanced as or poorer than copies of line drawings. The results are explained in terms of the difficulties exhibited by young children in translating the three-dimensional scene to a two-dimensional picture plane and strategies adopted by them to cope with these problems.     

Children's Recognition of Emotional Facial Expressions Through Photographs and Drawings

The author's purpose was to examine children's recognition of emotional facial expressions, by comparing two types of stimulus: photographs and drawings. The author aimed to investigate whether drawings could be considered as a more evocative material than photographs, as a function of age and emotion. Five- and 7-year-old children were presented with photographs and drawings displaying facial expressions of 4 basic emotions (i.e., happiness, sadness, anger, and fear) and were asked to perform a matching task by pointing to the face corresponding to the target emotion labeled by the experimenter. The photographs we used were selected from the Radboud Faces Database and the drawings were designed on the basis of both the facial components involved in the expression of these emotions and the graphic cues children tend to use when asked to depict these emotions in their own drawings. Our results show that drawings are better recognized than photographs, for sadness, anger, and fear (with no difference for happiness, due to a ceiling effect). And that the difference between the 2 types of stimuli tends to be more important for 5-year-olds compared to 7-year-olds. These results are discussed in view of their implications, both for future research and for practical application.     

The Roles of Emotional Comprehension and Representational Drawing Skill in Children's Expressive Drawing

The purpose of the present study was to investigate the roles of emotional comprehension and representational drawing skill in children's expressive drawing. Fifty 7‐ to 10‐year‐olds were asked to produce two (happy and sad) expressive drawings, two representational drawings (drawing of a man running and drawing of a house) and to answer the Test of Emotion Comprehension (Pons & Harris, 2000). The expressive drawings were assessed on the number of expressive subject matter themes (‘content expression’) and the overall quality of expression on a 5‐point scale. Each of the representational drawings was measured on a scale assessing detail and visual realism criteria, and contributed to a single representational drawing skill score. In line with our predictions, we found that both emotional comprehension and representational drawing skill accounted for a significant variance in children's expressive drawings. We explain that children's developing emotional comprehension may allow them to consider more detailed and poignant expressive ideas for their drawings and that their developing representational drawing skill facilitates the graphic execution of these emotional ideas. Copyright © 2014 John Wiley & Sons, Ltd.     

Tangible pictures: viewpoint effects and linear perspective in visually impaired people

Perception of raised-line pictures in blindfolded-sighted, congenitally blind, late-blind, and low-vision subjects was studied in a series of experiments. The major aim of the study was to examine the value of perspective drawings for haptic pictures and visually impaired individuals. In experiment 1, subjects felt two wooden boards joined at 45 degrees, 90 degrees, or 135 degrees, and were instructed to pick the correct perspective drawing from among four choices. The first experiment on perspective found a significant effect of visual status, with much higher performance by the low-vision subjects. Mean performance for the congenitally blind subjects was not significantly different from that of the late-blind and blindfolded-sighted subjects. In a further experiment, blindfolded subjects drew tangible pictures of three-dimensional (3-D) geometric solids, and then engaged in a matching task. Counter to expectations, performance was not impaired for the 3-D drawings as compared with the frontal viewpoints. Subjects were also especially fast and more accurate when matching top views. Experiment 5 showed that top views were easiest for all of the visually impaired subjects, including those who were congenitally blind. Experiment 5 yielded higher performance for 3-D than frontal viewpoints. The results of all of the experiments were consistent with the idea that visual experience is not necessary for understanding perspective drawings of geometrical objects.     

Are large drawings signs of psychological expansion or effects of drawing skills? A critical evaluation of Wartegg drawing size categories in a Finnish sample

Soilevuo Grønnerød, J. & Grønnerød, C. (2010). Are large drawings signs of psychological expansion or effects of drawing skills? A critical evaluation of Wartegg drawing size categories in a Finnish sample. Scandinavian Journal of Psychology, 51, 63–67. In the Wartegg Drawing Completion Test, drawings which are larger than the norm size are interpreted as signs of the personality trait of expansion. The popular handbook by Wass and Mattlar (2000) includes a graphic presentation of the size norms. We scored 351 test blankets into the size categories small, normal and large following these norms. Only 14% of the drawings fitted into the category of normal size, while 13% were small and 73% were large. We also evaluated the test blankets according to drawing ability into five categories and found a high correlation between large size and drawing ability. The results show a need to re‐evaluate the direct link between large size and expansion, as well as a need to modify the size norms.     

Factors influencing the use of transparency in children's drawing

When young children draw a scene in which one object partially occludes another, they often depict hidden features of the occluded object by rendering the nearer object transparent. This may signify a motive to produce drawings that are informative. Three experiments are reported in which a simple paradigm is employed to consider this possible basis of transparency drawing. Experiment 1 established a gradual decrease in the use of this device across the 5–7-year age range. Its occurrence could not be ascribed to a simple lack of graphic skill and it was not readily inhibited by stronger perceptual marking of scene boundaries. The extent to which children were purposefully producing informative drawings was evaluated in Expts 2 and 3. Because an increase in occluded information actually served to inhibit transparencies, it is argued that they need not reflect such a communicative attitude. An alternative account is proposed whereby drawing decisions are guided, sometimes inappropriately, by the structure of cognitive representations children form of scenes. Transparencies signify a failure to anticipate certain graphic ambiguities thereby generated. However, they may be inhibited if the geometry of a particular scene forces the child to confront such ambiguity at the outset of drawing.     

How is emergent writing based on drawing? Analyses of children's products and their sorting by children and mothers

Writing and drawing produced by children 28-53 months old were compared. Israeli and Dutch preschoolers were asked to draw and write, to classify their products as drawing and writing, and to decide what they had drawn or written. Israeli and Dutch mothers classified the products. Scores on a scale for writing composed of graphic, "writing-like," and symbolic schemes showed improvement with age. Recognition of drawings as drawings preceded recognition of writings as writings. Scores on writing and drawing were substantially correlated, even with age partialed out, suggesting (a) that when children start drawing objects referentially, they write by drawing "print" and (b) that progress in object drawing involves progress in drawing print, so that their writing becomes more writing-like. Children unable to communicate meaning by writing spontaneously resort to drawing-like devices, indicating the primacy of drawing as a representational-communicative system.