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.     

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.     

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.     

Traces of the artist: Sensitivity to the role of the artist in children's pictorial reasoning

In three studies we investigated the question of whether children consider the attributes of the artist (sentience, age level, affective style, emotion) when making judgments about the traces (drawings) made by that artist. In Study 1, 2–5‐year‐old children were asked to find pictures drawn by a machine, an adult, an older and a younger child. Results indicated that children younger than 4 years do not consider the artists' attributes when making judgments, but 4‐ and 5‐year‐olds do. Furthermore, whereas the oldest children were adept at both machine‐person (sentience) and person‐person (age) contrasts, 4‐year‐olds succeeded only with person‐person contrasts. In Study 2, videotaped artists displayed differences in degree of agitation (affective style) while drawing, and this attribute was manipulated in the drawing by varying line density, asymmetry, line overlap and line gap, or all four features, across stimuli. Three‐ and five‐year‐old children judged whether a calm or agitated person drew the stimuli. Findings showed that five‐year‐old, but not 3‐year‐old, children easily completed the task. In Study 3, 3‐, 5‐ and 7‐year‐old children judged whether happy or sad artists made paintings of matching emotional tone. Performance on this picture judgment task was contrasted with performance on three theory of mind tasks (false belief, emotion and interpretative). The results indicated that 5‐ and 7‐year‐olds successfully judged the impact of artists' emotions on paintings, but 3‐year‐olds did not. Performance on the picture task was related to that on the false belief task, but not to the emotion or interpretive tasks. Taken together, the results suggest that children's view of visual symbols includes a consideration of the qualities of the artist beginning around 5 years, and there appears to be a common link between judgments of the mind behind the visual symbol in the picture task and judgments of mental state reasoning in the false belief task.     

The impact of meaning and dimensionality on the accuracy of children's copying

Studies of intellectual realism have shown that children aged 7 to 9 copy a line drawing of a cube less accurately than a non‐object pattern composed of the same lines ( Phillips, Hobbs, & Pratt, 1978 ). However, it remains unclear whether performance is worse on the cube because it is a three‐dimensional representation, or because it is a meaningful object, or both. The accuracy with which twenty 7‐year‐old and twenty 9‐year‐old children reproduced 16 line drawings of two‐dimensional and three‐dimensional objects and non‐objects was assessed. Older children copied all types of drawing more accurately than younger participants, and children of all ages copied two‐dimensional drawings more accurately than three‐dimensional. Meaningfulness interacted with dimensionality for ratings of drawing accuracy, assisting the copying of two‐dimensional drawings, but having no impact on the copying of three‐dimensional drawings. For an objective measure based on position, length, and orientation of line, meaningfulness interacted with age group, being beneficial for 7‐ but not 9‐year‐olds. Overall, the results imply that, contrary to previous suggestions, meaningfulness can actually be beneficial to copying.     

Older but not younger infants associate own‐race faces with happy music and other‐race faces with sad music

We used a novel intermodal association task to examine whether infants associate own‐ and other‐race faces with music of different emotional valences. Three‐ to 9‐month‐olds saw a series of neutral own‐ or other‐race faces paired with happy or sad musical excerpts. Three‐ to 6‐month‐olds did not show any specific association between face race and music. At 9 months, however, infants looked longer at own‐race faces paired with happy music than at own‐race faces paired with sad music. Nine‐month‐olds also looked longer at other‐race faces paired with sad music than at other‐race faces paired with happy music. These results indicate that infants with nearly exclusive own‐race face experience develop associations between face race and music emotional valence in the first year of life. The potential implications of such associations for developing racial biases in early childhood are discussed.     

Knowing how to look predicts the ability to draw realistically

Some young children are able to create stunningly realistic drawings resembling those of adult artists. What perceptual abilities underlie this talent? This study examined two candidate skills on which adult artists excel: the ability to segment a complex form mentally (measured by the Block Design Task) and the ability to see hidden forms (measured by the Group Embedded Figures Test). Sixty‐seven 6‐ to 13‐year‐olds with a wide range of drawing abilities completed these tasks as well as an IQ test and an observational drawing task. While children who scored high on drawing realism outperformed those who scored low in drawing realism on both perceptual tasks, only detection of embedded figures predicted drawing realism. This occurred independently of age, gender, years of training, and verbal and non‐verbal IQ. There are certainly many contributors to this complex ability, but one component appears to be the tendency to see things more as they really are and thereby recognize the continuous contour of an object despite interference from other overlapping objects.     

Memory for facial expression is influenced by the background music playing during study

The effect of the emotional quality of study-phase background music on subsequent recall for happy and sad facial expressions was investigated. Undergraduates (N = 48) viewed a series of line drawings depicting a happy or sad child in a variety of environments that were each accompanied by happy or sad music. Although memory for faces was very accurate, emotionally incongruent background music biased subsequent memory for facial expressions, increasing the likelihood that happy faces were recalled as sad when sad music was previously heard, and that sad faces were recalled as happy when happy music was previously heard. Overall, the results indicated that when recalling a scene, the emotional tone is set by an integration of stimulus features from several modalities.     

What’s in a face? Perhaps some elements of both eudaimonic and hedonic well-being

The idea that eudaimonic well-being (EWB) should be distinguished from the more widespread notion of hedonic well-being (HWB), has stirred up disagreement among happiness researchers. Siding with EWB researchers, this study provides theoretical and empirical arguments supporting the distinctiveness and usefulness of a EWB dimension. A path model with data from Norwegian university students (N?=?184) showed that, when requested to draw both a happy face and a sad face, indicators of HWB were associated with a preference for working with the happy rather than the sad face. Indicators of EWB were uncorrelated with this hedonic bias. Eudaimonic feeling states were associated with the level of creativity involved in the drawings, while hedonic feelings were not. Finally, participants who draw bigger faces also felt more pleasure during the act of drawing. Eudaimonic feelings were unrelated to the size of the drawing.     

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.     

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.     

The Importance of Modeling Method Effects: Resolving the (Uni)Dimensionality of the Loneliness Questionnaire

In this study, we tested whether children and young adults varied the size and color of their tree drawings based on hypotheses related to the emotional characterization of the drawn topic. We asked a sample of 80 5- to 11-year-old children and adults to draw a tree (baseline drawing) and then a happy versus sad tree from their imagination. Results indicate that size, but not color, is used to express emotion under free drawing conditions. We discuss implications for clinical psychologists and practitioners interpreting drawings of the tree.     

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.     

The development of emotion recognition from facial expressions and non‐linguistic vocalizations during childhood

Sensitivity to facial and vocal emotion is fundamental to children's social competence. Previous research has focused on children's facial emotion recognition, and few studies have investigated non‐linguistic vocal emotion processing in childhood. We compared facial and vocal emotion recognition and processing biases in 4‐ to 11‐year‐olds and adults. Eighty‐eight 4‐ to 11‐year‐olds and 21 adults participated. Participants viewed/listened to faces and voices (angry, happy, and sad) at three intensity levels (50%, 75%, and 100%). Non‐linguistic tones were used. For each modality, participants completed an emotion identification task. Accuracy and bias for each emotion and modality were compared across 4‐ to 5‐, 6‐ to 9‐ and 10‐ to 11‐year‐olds and adults. The results showed that children's emotion recognition improved with age; preschoolers were less accurate than other groups. Facial emotion recognition reached adult levels by 11 years, whereas vocal emotion recognition continued to develop in late childhood. Response bias decreased with age. For both modalities, sadness recognition was delayed across development relative to anger and happiness. The results demonstrate that developmental trajectories of emotion processing differ as a function of emotion type and stimulus modality. In addition, vocal emotion processing showed a more protracted developmental trajectory, compared to facial emotion processing. The results have important implications for programmes aiming to improve children's socio‐emotional competence.     

Sex differences in expressive drawing

We examined sex differences in expressive drawings produced by 105 boys and 105 girls aged 9-15 years. The drawings were classified according to the type of expressive strategy used to depict emotion (literal, content, abstract, or any combination of these), and rated according to the complexity of that strategy. A creative/divergent thinking task (figural form) was used to assess the relationship between expressive drawing and figural creativity. As predicted, girls scored higher than boys on the expressive drawing task. Specifically, girls relied less often on literal strategies alone and were more likely to combine literal expression with metaphorical (content and abstract) expression than boys. There was a linear relationship between expressive drawing and divergent thinking scores. These results are consistent with the idea that boys and girls differ in the expressive component of emotion, and suggest that these sex differences extend to the expressive drawing domain. They also suggest that divergent thinking may be involved in the ability to draw expressively.     

Effects of emotional response on the Stroop‐like task in preschool children and young adults

This study investigated the effects of emotional response on an inhibitory task, the Stroop‐like day‐night task, in which participants are presented with two pictures. They are then requested to inhibit naming what the card shown to them represents and instead state what the other card represents. Specifically, 35 4‐ to 6‐year‐old children and 15 young adults were administered the emotion‐related happy‐sad task and the emotion‐unrelated up‐down task using the same stimulus set (happy and sad cartoon faces). The results suggested that vulnerability to errors in the happy‐sad task was not derived from increased inhibitory demand. The results also suggested that the happy‐sad task is more inhibitory‐demanding in terms of response time. These results suggested that the happy‐sad task elicits interference more than other variants of this task, not because the task involves emotional stimuli per se but because the task involves both emotional stimuli and emotional responses.     

The facial muscle patterning of posed and imagery-induced expressions of emotion by expressive and nonexpressive posers

Much research on emotional facial expression employs posed expressions and expressive subjects. To test the generalizability of this research to more spontaneous expressions of both expressive and nonexpressive posers, subjects engaged in happy, sad, angry, and neutral imagery, and voluntarily posed happy, sad, and angry facial expressions while facial muscle activity (brow, cheek, and mouth regions) and autonomic activity (skin resistance and heart period) were recorded. Subjects were classified as expressive or nonexpressive on the basis of the intensity of their posed expressions. The posed and imagery-induced expressions were similar, but not identical. Brow activity present in the imagery-induced sad expressions was weak or absent in the posed ones. Both nonexpressive and expressive subjects demonstrated similar heart rate acceleration during emotional imagery and demonstrated similar posed and imagery-induced happy expressions, but nonexpressive subjects showed little facial activity during both their posed and imagery-induced sad and angry expressions. The implications of these findings are discussed.     

Differential effects of happy,neutral, and sad still‐faces on 2‐, 4‐ and 6‐month‐old infants

The role of facial expression in the determination of infants' reaction to the sudden still‐face of a social partner was investigated. In a within subject design, 2, 4 and 6‐month‐old infants were tested in periods of normal interaction interspersed with periods of prolonged still‐face episodes in which the female adult social partner adopted either a happy, neutral, or sad static facial expression while maintaining eye contact with the infant. Proportion of infants' smiling and gazing at the social partner as indices of reaction from the various still‐face episodes reveal that, in comparison with same age control groups, four and six‐month‐old infants did not demonstrate any differential responses depending on either happy, neutral, and sad still‐faced expression. In contrast, two‐month olds demonstrated some evidence of a reduced still‐face effect in the happy still‐face condition. These results point to early developmental changes in the mechanisms underlying the still‐face phenomenon. We propose that by 4 months, and not prior, the reaction to still‐face episodes are essentially based on the detection of social contingencies. Copyright © 2002 John Wiley & Sons, Ltd.     

Multilingual assessment of early child development: Analyses from repeated observations of children in Kenya

In many low‐ and middle‐income countries, young children learn a mother tongue or indigenous language at home before entering the formal education system where they will need to understand and speak a country's official language(s). Thus, assessments of children before school age, conducted in a nation's official language, may not fully reflect a child's development, underscoring the importance of test translation and adaptation. To examine differences in vocabulary development by language of assessment, we adapted and validated instruments to measure developmental outcomes, including expressive and receptive vocabulary. We assessed 505 2‐to‐6‐year‐old children in rural communities in Western Kenya with comparable vocabulary tests in three languages: Luo (the local language or mother tongue), Swahili, and English (official languages) at two time points, 5–6 weeks apart, between September 2015 and October 2016. Younger children responded to the expressive vocabulary measure exclusively in Luo (44%–59% of 2‐to‐4‐year‐olds) much more frequently than did older children (20%–21% of 5‐to‐6‐year‐olds). Baseline receptive vocabulary scores in Luo (β = 0.26, SE = 0.05, p < 0.001) and Swahili (β = 0.10, SE = 0.05, p = 0.032) were strongly associated with receptive vocabulary in English at follow‐up, even after controlling for English vocabulary at baseline. Parental Luo literacy at baseline (β = 0.11, SE = 0.05, p = 0.045) was associated with child English vocabulary at follow‐up, while parental English literacy at baseline was not. Our findings suggest that multilingual testing is essential to understanding the developmental environment and cognitive growth of multilingual children.