Quality of Drawing as a Factor in the Interpretation of Figure Drawings

Examined the drawings of 32 poliomyelitis patients and their matched controls to see whether figure drawings primarily reflect the subject's projection of psychological state, ability to draw, or some combination of these two factors. An overview of the literature is also given. Drawings from disabled and nondisabled subjects were reliably rated for quality, with no significant quality difference found between groups. Analyses of variance were then used to compare the drawings on several different measures of drawing size, completion and movement that might be assumed on the basis of the literature, to reflect the subjects' projection of disability status. Results showed that quality of drawing was a significant factor in 13 of the 17 comparisons while disability status proved to be a significant factor in only one of the 17 comparisons. There were no significant interactions. Therefore, the overall findings are consistent with the hypothesis that quality of drawing—rather than projective mechanisms—may at times be the overwhelming determinant of clinical and research findings with figure drawings.     

Artistic Quality of Drawings and Judges' Evaluations of the DAP

Summary: When art quality varied for a set of figure drawings, judges were unable to differentiate hospitalized schizophrenic females from a matched nonpatient group. Both trained and naive judges erroneously tended to see drawings of low art quality as of patient origin, and drawings of high overall quality as of nonpatient origin. When art quality was held constant judges did slightly better than chance in differentiating the patient vs. nonpatient drawings. Psychologists were no more accurate than untrained judges. Results support the position that art quality of drawings influences judges' evaluations, and, in terms of the present investigation, represents a major source of error in drawing interpretation. Even when art quality was controlled, however, judges' rate of success was low, casting doubt on the status validity of the Draw-A-Person test (DAP).     

Sexual ambiguity in children's human figure drawings

Four hundred sixty-one children in grades 5-9 drew a person and indicated the sex of their human figure drawing. A significant number (8%) of children were unable to classify their drawings as to sex; the frequency of uncertainty did not vary with grade or sex of child. Inability to determine the sex of one's own drawing is hypothesized to be a conceptual rather than a perceptual problem, and to reflect uncertainty about the essence of sexual identification.     

Validity of projective drawing indices of male homosexuality

We investigated the hypothesis that certain signs in the Draw-A-Person projective technique reflect male homosexuality. Human figure drawings from gay and 88 heterosexual men, with no clinical psychological symptoms, were submitted to trained raters who were blind to the purpose of this research. The raters independently judged whether 21 signs, previously referenced in the literature as suggestive of male homosexuality, were present in the figure drawings. Only two signs, hair and hips, differentiated between groups. Results were interpreted in the light of changing social attitudes towards homosexuals and methodological problems of prior studies.     

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.     

A comparison of three methods for scoring figure drawings

Figure drawings obtained from 758 white male medical students were scored using three different methods. Method I involved 16 different physical size measurements; Method II involved six separate sophistication of body concept ratings; and Method III involved 42 separate aspects of the drawings weighted in direct proportion to their relative frequency of occurrence in the sample studied (conventionality scoring). Separate factor analyses of the scores derived from each method revealed that Methods I and II each reflect only a single underlying factor, and that these factors are uncorrelated in the population studied. Method III yielded eight meaningful factors, each of which may be construed as an independent area of conventionality/deviancy. An overall conventionality/deviancy score was also derived. It is believed that these three methods of scoring capture most of the variance inherent in existing figure drawing scoring systems, but that use of all three is necessary for a comprehensive analysis.     

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.     

The effect of affective characterizations on the size of children's drawings

Previous research has yielded conflicting findings about the existence and the direction of the size changes which occur in children's drawings when they are asked to draw topics which have been given an affective characterization. The present study was designed to investigate whether children scale up the size of drawings of topics which have been given a positive characterization, and scale down the size of drawings of topics which have been given a negative characterization. The participants were 258 children aged between 4 and 11 years who completed three drawings of either a man, a dog or a tree. Each child drew a baseline drawing of a neutrally characterized figure, and two further drawings of a positively and a negatively characterized version of the same figure. It was found that the children drew the positively characterized topics larger than the neutrally characterized topics, and reduced the size of the negatively characterized topics relative to the baseline drawings. These patterns occurred at all ages and with all three drawing topics. Two possible explanations of the findings are discussed: the operation of an appetitive‐defensive mechanism in children, and the acquisition of pictorial conventions.     

Drawing self and others: How do children with autism differ from those with learning difficulties?

When children draw pictures of human beings, they reveal things not only about their general intellectual and artistic abilities, but also about their awareness and conception of themselves and others. What might the human figure drawings of children with autism reveal about their images of self and other – and what might they disclose about social factors that shape the drawings of children who do not have autism? On the basis of an hypothesis about the restricted social awareness of children and adolescents with autism, we predicted that there would be little differentiation between their drawings of themselves and other people. To test this prediction, we investigated a group of children and adolescents with autism and a group with learning difficulties but not autism (N = 14 per group) who were individually matched for both chronological age and verbal mental age. Participants with autism mostly drew human figures that were little distinguished from one another, but introduced clear contrasts among their houses, whereas most of those with learning difficulties drew distinctive human figures as well as houses. These different profiles of performance occurred despite similarities in the numbers and kinds of feature included in the drawings, and the individuality of participants' drawing styles. Although the results were in keeping with our hypothesis that human figure drawings might reflect abnormalities in the way that children with autism mentally represent themselves and others, we conclude by stressing our tentativeness over this interpretation of the findings.     

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.     

Foreshortening and the perception of parallel projections

Does picture perception follow polar projective geometry? Parallel projection drawings, which are not produced by using rules of polar projection, are widely regarded as visually acceptable representations of three-dimensional (3-D) objects in free viewing. One explanation is that they are perceived by means of a system in which there is no foreshortening. If so, edges of a 3-D block in 1∶1 proportions should be denoted by lines in 1∶1 proportions on the picture surface. However, three experiments suggest that the perception of parallel projections of a block involves foreshortening. In Experiment 1, 90 subjects were shown a set of parallel projections of a cube, in which each drawing depicted three sides of the cube, drawn as a square with obliques—a frontal square with receding edges shown by parallel obliques of various lengths. The subjects preferred a drawing with a receding side length that was considerably foreshortened in relation to the front side. In Experiments 2 and 3, subjects viewed drawings of three blocks that differed in the ratios of the lengths of their receding edges to their frontal edges (1∶1, 1∶2, and 1∶0.65). In Experiment 2, the subjects were shown square-with-obliques drawings of the three blocks with receding edges shown by parallel obliques of various lengths. Again, the subjects preferred drawings with a receding side that was foreshortened. In Experiment 3, the drawings showed two sides of a block. The receding dimension was drawn with parallel or converging lines. The preferred foreshortening was not a fixed ratio of the dimensions of the 3-D blocks. We suggest that square-with-obliques parallel projections showing cubes are taken by vision to be approximations to projections using foreshortening. We suggest also that as the line showing the receding edge elongates, foreshortening becomes less of a factor.     

Rorschach Indices of Perceptual and Conceptual Disorganization

Figure drawings were obtained from 97 preadolescent males who differed in self and behavioral assessments of self-esteem. These subjects had been selected from a much larger sample and represented five different types of self-esteem. The figure drawings were scored for 15 variables, dealing with formal characteristics, content, and global-interpretations of the total drawings. Five significant differences were obtained, with the content and global-interpretative categories proving more differentiating between self-esteem groups than did the formal characteristics. Behavioral expressions of self-esteem were more associated with figure drawing characteristics than were subjective evaluations. Discussion focuses on the nature of self-concept and self-esteem in children as a sensorimotor rather than symbolic expression.     

Simian scribbles: a reappraisal of drawing in the chimpanzee (Pan troglodytes)

Three chimpanzees (Pan troglodytes) were provided with 18 different stimulus pages for drawing. The resulting 618 drawings were coded for drawn marks, and results were compared with early reports on ape drawing (Morris, 1962; Schiller, 1951) and with more recent systematic studies (Smith, 1973). The findings of the present study confirm Smith's observations of a tendency for the animals to draw closer to the center and toward the bottom of the page. No evidence for perceptual balancing was observed in drawings produced on pages with lateral figures, nor was any evidence for closure apparent with complex figures. The present results agree with earlier findings that chimpanzees will engage in drawing activities without training or reinforcement, and this behavior may reflect their intrinsic interest in exploratory and manipulative play.     

Rorschach Variables and Big Five Scales as Predictors of Military Training Completion: A Replication Study of the Selection of Candidates to the Naval Special Forces in Norway

Thirty-nine undergraduate male college students drew five figures — an automobile, a clothed male, a clothed female, a nude male, a nude female — while a continuous record of their GSR activation was obtained. Analysis of GSR data showed that activation differed significantly from the relatively neutral but equally difficult drawing (i.e., the automobile). Nude figure drawings differed significantly in GSR activation from clothed figure drawings. GSR responses of largest amplitude showed significant shifts from the largest responses occurring to secondary sexual bodily areas in the clothed drawings to primary sexual areas in the nude drawings. Only the clothed male and the nude male drawings differed significantly between groups judged different in psychosexual adjustment.     

Characteristics of recovery of drawing ability in left and right brain-damaged patients

Drawings of a "person" were obtained from 21 patients with left brain damage (LBD) and 13 patients with right brain damage (RBD) at hospital discharge and 1 month postdischarge, corresponding to 2-4 and 6-8 weeks postonset, respectively. Early LBD drawings were simplistic and often incoherent. Most were placed in the upper left quadrant of the page. RBD drawings were scattered, fragmented, and elaborately detailed. Many showed evidence of left-sided neglect. The resolution of drawing disability also differed between the two groups: LBD subjects recovered drawing abilities more rapidly and more completely than RBD subjects. These differences in drawing characteristics and in the resolution of drawing disability were discernable for experienced neuropsychologists.     

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.     

Haptics and projection: drawings by Tracy, a blind adult

Outline drawings in a raised form were made by a blind woman, Tracy, who has been blind from very early in life. Highly practiced in drawing, she reports she is largely self-taught. To invoke matters of projection, she was asked to represent an object with faces slanting away from the observer, a fixed array from different vantage points, and sets of objects in depth. In particular, she drew a cube balanced on a vertex, three objects from different vantage points, receding rows of glasses, and a house. Her drawings included features of parallel and polar projection. Her use of these features may reflect an appreciation of direction from a vantage point, which observers deal with via haptics in everyday tasks. Tracy may have advanced drawing-development skills common to the blind and the sighted.     

Angular subtense effects on perception of polar and parallel projections of cubes

Many authors contend that the perception of 2-D drawings of a 3-D object is governed by polar projective geometry. A problem for this position is that observers accept parallel projections, which are not produced with polar projective geometry, as accurate representations of 3-D objects. In Experiments 1 and 2, we used two different standards of comparison to study the perceptions of three line drawings of cubes—correct polar projections of cubes with subtenses of 15° and 35°, and a parallel projection—at five different angular subtenses. In Experiment 1, 14 observers judged each drawing when it subtended about 35°, 15°, 5°, 4°, and 2° in width. Subjects used an 8-point rating scale to compare each drawing with a correct polar projection of a cube subtending 35°, viewed with the drawing subtending 15°. As predicted, both polar projections had their highest ratings at their correct vantage points. Ratings for the parallel projection were highest at small angular subtenses and decreased when it subtended 35°. These findings were supported by a second experiment in which the 15° polar projection was set at a 5° viewing angle as a standard. In Experiment 3, 15 observers compared the three drawings, viewed at a second set of angular subtenses (30°, 35°, 40°, 45°, and 50°), with a standard, the 35° polar set at 45°. Ratings fell with increases in viewing angle, and the parallel projection was rated lowest. The results indicate that parallel projections are assessed as polar projections that are correct for objects at a small angular subtense. Furthermore, projections at a small angular subtense are robust; that is, they are acceptable over a wide range of angular subtenses. We suggest that robustness can be explained by the modest variability in the proportions of pictures of cubes subtending small angles.     

Human figure drawings of adjudicated and nonadjudicated adolescents

We investigated differences between human figure drawings of adjudicated and nonadjudicated adolescents. In addition, the relationship between human figure drawings and crime category (person, property, other, none) was examined for the adjudicated adolescents. Subjects consisted of four groups of adolescents (n = 25 each): adjudicated males, adjudicated females, nonadjudicated males, and nonadjudicated females. Human figure drawings were obtained from all subjects; they were scored using a system that was developed for use with adolescents. Kruskal-Wallis one-way analyses of variance (ANOVAs) were used to assess the effects of adjudication status and gender. There were 11 significant differences between adjudicated and nonadjudicated adolescents and 11 differences among the four groups. Results of Kruskal-Wallis ANOVAs also showed two significant differences among crime categories.     

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.