Children''s Understanding of Action Lines and the Static Representation of Speed of Locomotion

Children's understanding of the static representation of speed of locomotion was explored in 2 experiments. In Experiment 1, 20 7-year-olds and 20 9-year-olds drew pictures of 2 people walking and running at different speeds. Children then made judgments about pairs of unambiguous drawings of a person walking or running, as did a sample of 20 adults. The drawings varied according to whether action lines, background lines, or no lines were present. Children were asked to say which figure appeared to be moving faster. In Experiment 2, 20 7-year-olds, 20 9-year-olds, and 21 adults sorted ambiguous drawings of a person walking and running at different speeds. The pictures again contained action lines, background lines, or no lines. In the drawing task, children more frequently used page position and biomechanical information than action lines to represent fast and slow walking and running. In the judgment task, 7- and 9-year-olds offered equivalent judgments of action lines and background lines, whereas adults distinguished between these pictorial devices. In the sorting task, all subjects distinguished between action lines and background lines and judged that pictures containing action lines looked faster than pictures containing background lines and pictures without lines. Taken together, the results indicate that subjects' judgments were influenced by the form of locomotion and degree of ambiguity in the depicted events they saw. The findings are consistent with the view that different categories of pictorial devices exist, but the effectiveness of each device is contingent upon the perceiver's experience with it and the context in which it appears.     

Judgement and production of drawings by 3- to 10-year-olds: Comparison of declarative and procedural drawing knowledge

In this experiment, 80 children between the ages of three and ten produced and judged drawings of a person and a house. Two alternative hypotheses were tested. Under the first hypothesis, young children have internal models of persons and objects which are comparable to those of adults, but they have problems implementing their knowledge and planning and managing the graphic activity. If this hypothesis is true, we should obtain an interaction between age and type of task (production vs. judgement). Under the second hypothesis, children’s drawings are a direct reflection of their internal models of the items drawn. This hypothesis predicted a significant positive correlation between performance on production and judgement. In the judgement task, the subjects were presented with pairs of drawings and asked to indicate the more elaborate drawing. For the house and the man drawing, children by the age of three were able to correctly determine the most elaborated of the two presented drawings. A strong interaction was obtained between age and type of task (production or judgement), due to the fact that the difference between production performance and judgement performance decreases with age. The discussion suggests a limited cognitive capacity hypothesis to account for the results, and proposes some possibilities for future studies.     

Adaptation de la Perspective à une Situation Complexe par des Elèves de 9–12 ans

The research described here deals with relationships between teaching situations and pupils’ notions in the context of three dimensional geometry lessons during compulsory schooling. Specifically, ways in which 9 to 12 year old children adapt perspective drawings of a cube in two quite complex situations are looked at. These situations require that assemblies of cubes be represented with different objectives in mind. Furthermore, the situations are created at the beginning of the learning process as implemented at two different school grades. The article presents the bread range of possible types of visual representations of cube assemblies. Three ways of adapting to these situations can be picked out in terms of this classification, namely:

— successful resolution of the coordination problems posed by perspective representation of assemblies involving several cubes;

— restricted use of perspective drawings for one simple part of the assembly;

— abandonment of perspective drawings in favour of other, figurative or semi-figurative method of graphical representation.

The effect of certain features of each situation considered on pupils’ adaptation is also brought out. These features were used to favour semi-figurative techniques of representation linked to spatial orientation procedures.     

The Representation of Extendedness in Children''s Drawings of Sticks and Discs

Piaget has suggested that the reason why children find it difficult to draw foreshortened views is because they lack any conscious awareness of their own viewpoint. Instead, it is proposed that most of these difficulties derive from the constraints of drawing as a representational system: for example, although a round region shows a true view of a foreshortened stick, it is unsatisfactory as a representation. To test between these alternative proposals, 4-, 7-, and 12-year-olds were asked to draw sticks and discs in foreshortened and nonforeshortened positions. As predicted, fewer 7- and 12-year-olds used a round region to represent a foreshortened stick, compared with children of the same age who used a long region to represent a foreshortened disc. In addition, the 12-year-olds used a different and more effective denotation system compared with the 7-year-olds.     

The Representation of Spatial Relationships in the Drawings of ESN(M) and Normal Children

Abstract Two age groups of normal children (7y 8m and 12y 7m) were asked to draw two cubes placed in three different spatial arrangements. A third group of ESN(M) children who had a chronological age of 12y 7m but a mental age of 7y 11m was also tested. Generally, the way that the three groups represented the cubes was in accord with the predictions made from previous research findings. One striking difference, however, was that only the older normal children attempted to depict the solidity of the cubes; in doing so, they represented the model from a viewpoint which was not their own. This finding raises doubts about the assumption that the developmental trend is towards drawing a picture from the artist's own viewpoint. The responses of the ESN (M) children resembled those of the younger normal subjects and both these groups produced more developmentally advanced drawings than had been expected.     

Youthful Ideals of Older Adults: An Analysis of Children's Drawings

Over the years, disparities have continued to emerge about what factors influence children's views of older adults. The purpose of this study was to gain further understanding regarding youthful ideals of aging through an analysis of children's drawings. After completing their drawings, the children were interviewed to provide a better understanding and to give clarity of the drawn images. The sample included 141 children ages 8–12 from different Boys and Girls Clubs of America across the United States. Overall, the children produced a generally positive image (84.8%) with most drawing a family member who was happy, healthy, active, and with positive physical characteristics. Significant differences were found between the genders as the girls drew more positive images than the boys; however, no significant differences existed between children from different races and ages.     

An evaluation of favorite kind of day drawings from physically maltreated and non-maltreated children

OBJECTIVE: This study aimed to replicate Manning's (1987) research that looked at "Favorite Kind of Day" drawings produced by children who had been maltreated in comparison to non-maltreated children. The hypothesis of the study was that the maltreated children's drawings would consistently differ from drawings produced by non-maltreated children over time. METHOD: Eighteen children aged between 4 and 8 years old were individually asked to draw their "Favorite Kind of Day" (FKD). The drawings from six physically maltreated participants were compared to 12 non-maltreated children matched for age, sex, socio-economic and educational background. The drawings were compared on three criteria: inclement weather, size, and movement of weather. RESULTS: The results showed that over a period of 18 months, maltreated and non-maltreated children consistently drew similar drawings, and no significant differences were found between the groups. CONCLUSIONS: The implications of these findings cannot be underestimated, as clinical use of the FKD technique suggested by Manning's findings, for English children at least, would lead to incorrect identification of children as having suffered maltreatment when they may in fact not have.     

Colouring in the Blanks: Memory Drawings of the 1990 Kuwait Invasion

This study used drawing tasks to examine the similarities and differences between females and males who shared a collective traumatic event in early childhood. Could these childhood memories be recorded, measured, and compared for gender differences in drawings by young adults who had shared a similar experience as children? Exploration of this question drove this qualitative research project to examine drawings by young Kuwaiti men and women, who were residents in Kuwait during the 1990 Saddam‐Hussein‐led Iraqi invasion of their country. Visual results from this study show colour, image and symbol (CIS) patterns, and differences in gender images in drawings which represent a select population's response to the 1990 Iraqi invasion of Kuwait.     

Young Children's Human Figure Drawing: cross‐sectional and longitudinal studies

Abstract Forty‐two children aged between 2 years and 4 years 11 months were asked to draw a person. Their drawings were categorised as (1) scribbles, (2) distinct forms, (3) tadpoles, (4) transitional and (5) conventional figures. The first representational figures, the tadpoles, appeared at an average age of 3 years 1 month. It was predicted that if tadpole figures result from the complexity of the task rather than from a conceptual difficulty then tasks with reduced demands (a copying task, a jig‐saw task, and a dictation task) should facilitate the drawing of conventional figures. In fact, few conventional figures were produced and the tadpole form was highly resistant across the different tasks.

Six of the children were followed longitudinally over a one‐year period from a pre‐representational to a conventional stage of human figure drawing. Spontaneous drawings as well as drawings from six test sessions were collected in order to check whether all children drew ‘tadpole’ forms before they produced conventional figures and whether the conventional figures were adapted from the tadpoles. Four of the children did produce tadpole forms; two did not, but were probably specifically tutored in the conventional form by a peer or parents. There were wide individual differences in the nature of the transition from one form to the next, but there was no clear evidence that the conventional figure had been adapted from the tadpole form.     

Assessing the concordance between child reports and adult observations of single and mixed emotion in children’s drawings of themselves or another child

The present study assessed concordance between child reported and adult observed strategies to depict single and mixed emotion in the same human figure drawings. 205 children (104 boys, 101 girls) aged 6 years 2 months to 8 years 3 months formed two age groups (6 years 2 months–7 years 2 months and 7 years 3 months–8 years 3 months) across two conditions drawing either themselves or another child. They heard vignettes designed to elicit single and mixed emotion and drew a baseline drawing, counterbalanced happy and sad, and a mixed emotion drawing. Categories of children’s verbal reports and adults’ observations were similar with some variation of use by condition, age group and emotion type. Mixed emotion strategies were more similar to those observed and reported in happy drawings. Findings are discussed in relation to a framework theory of art and social display rules.     

Human Figure Drawings by Schooled and Unschooled Children in Papua New Guinea

Human figure drawings were collected from 287 schooled and unschooled children, aged between 10 and 15 years, living in a remote region of the Western Highlands Province of Papua New Guinea, an area with no tradition of graphic art. A classification and ordinal scoring system was devised which encompassed graphic productions ranging from scribbles to conventional competent human figure drawings. The effects of school experience on drawing, even brief and indirect experience, were found to be significant. All the children attending school drew only conventional human figures, but the whole range of drawings, scribbles, transitional forms, and conventional human figure drawings were found in the unschooled children's attempts. Nonrepresentational scribbles and shapes were largely produced by unschooled children living in remote villages without a school, trade store, or mission. Some children appeared to be able to draw representations of the human figure without going through a scribbling stage. The material is considered in relation to other reports on drawings produced by children from societies with little or no indigenous graphic art. The results are discussed in relation to various theories on the development of drawing and representational abilities.     

Memory for pictures: a life-span study of the role of visual detail

This experiment assessed the effect of the amount of physical detail in pictures on picture recognition memory for 7-year-olds, 9-year-olds, young adults, and older adults over 68. Subjects were presented simple and complex line drawings, factorially combined in a "same-different" recognition test with simple or complex forms of each. For each age group, recognition accuracy was significantly higher for pictures presented in the simple than in the complex form. This effect was due to differences between simple and complex pictures in the correct rejection rate but not the hit rate; subjects were less accurate detecting deletions from changed complex pictures than additions to changed simple pictures. The older adults were no better than chance at correctly rejecting changed complex pictures. Although increasing the presentation duration from 5 sec to 15 sec increased overall accuracy, it did not increase subjects' ability to correctly reject changed complex pictures. Results are interpreted in terms of schematic encoding and storage of pictures. Accordingly, visual information that communicates the central schema of each picture is more likely to be encoded and retained in memory than information that does not communicate this schema.     

Relations between drawing cubes and copying line diagrams of cubes in 7- to 10-year-old children

Previous research has suggested both links and differences between children's copying of line diagrams and their drawings of solid objects. If the diagram represents a familiar object, children make more errors than when copying a diagram of a nonobject or unfamiliar object, as if they are drawing from their representation of the object rather than copying the surface features of the diagram. However, copying a diagram yields fewer and different types of errors than drawing the equivalent solid, which suggests a different process. In Experiment 1 (n = 72), possible relations between copying and drawing are investigated by asking children to draw a solid cube, then to copy or trace a line diagram of the cube in oblique projection, and finally to draw the solid again. Copying was better than drawing, and there was positive transfer to a subsequent drawing. Tracing was very accurate, but transfer to drawing did not occur, possibly because of the automatic nature of tracing. In Experiment 2 (n = 120) different groups received versions of the copying task that differed in the extent to which temporal order of line copying was structured. Asking children to copy the lines in a systematic order led to improved copies, but this performance did not carry over to a subsequent drawing of the solid. In contrast, when temporal ordering of line copying was not manipulated, there was positive transfer from copying to the subsequent drawing. In Experiment 3 (n = 80), provision of structure that emphasized faces by color-groupings of lines or coloring faces led to improved copies and did not hinder transfer to drawing the solid. Experiment 4 (n = 90) showed that in a solid drawing task emphasis on faces but not edges produced a positive effect, both on the immediate drawing and on a subsequent drawing of a plain cube. We conclude that emphasis on order of line copying improves performance in a copying task because in that case line-to-line matching is an important element of the skill, whereas this does not aid drawing of the solid object, in which the focus is primarily on representation of faces and their interrelations.     

Intention and Meaning in Young Children's Drawing

In this article I present some ideas, based on qualitative research into young children's drawing, related to the developing discourse on young children's thinking and meaning making. I question the relationship between perception and conception and the nature of representation, challenging traditional ideas around stage theory and shifting the focus from the drawings themselves to the process of drawing, and thus to the children's own purposes. I analyse examples of my observations (made in naturalistic settings within a nursery classroom) to reveal the range of representational purposes and meaning in children's drawing activity. My analysis shows that, rather than being developmentally determined, the way children configure their drawings is purposeful; children can recognise the power of drawing to represent, and that they themselves can be in control of this. I explore aspects of the process, including transformation and talk to show the importance of understanding drawing in its specific contexts. I show how children's drawing activity is illuminated by the way in which it occurs and the other activities linked to it, presenting drawing as part of children's broader, intentional, meaning‐making activity. As an aspect of the interactive, communicative practices through which children's thinking develops, representation is a constructive, self‐directed, intentional process of thinking in action, through which children bring shape and order to their experience, rather than a developing ability to make visual reference to objects in the world. I suggest that in playing with the process, children are actively defining reality rather than passively reflecting a given reality.     

Regarding learning: Children’s drawings of learning in the classroom

This article explores drawings of learning in the classroom made by a class of 6 to 7-year-olds in a UK primary school. The drawings were analysed by considering the choices that children made in their drawings in terms of four themes: self and social relations in learning, the physical environment, learning activities, and learning and behaviour. These are discussed using five drawings as examples. A wide range of images was used by the children, although some drew common views of learning. The article warns against assuming that we know how a young person views their learning, or that a class of children share a common view of it. It is also suggested that talk about such drawings can make a contribution to a joint exploration of understandings of learning by teachers and children.     

Early Obsessive Drawings and Personal Development

Drawing activity may not be inherently therapeutic, but evidence of the affect of (traumatic) experience in drawings, is especially apparent in the work of some exceptionally creative persons and of children who draw obsessively. The notion of drawing as potentially therapeutic rather than merely responsive, assumes that the activity and the imagery are interactive in some way with the personality and development of those who draw. This assumption is supported by a new childhood-to-maturity case-study, which focuses on the drawing and development of one individual with exceptional drawing skills, who has gradually emerged from acute learning, emotional and social difficulties. The evidence from his drawings over a twenty–year period is extended by his own memories (and by observations of him at the time) of their early motivation and significance. Some of his greatest difficulties were also the spur to his creative energy and the activity of drawing and the drawings themselves were instrumental in his maturation.     

Drawings as Representations of Children's Conceptions

Drawings are often used to obtain an idea of children's conceptions. Doing so takes for granted an unambiguous relation between conceptions and their representations in drawings. This study was undertaken to gain knowledge of the relation between children's conceptions and their representation of these conceptions in drawings. A theory of contextualization was the basis for finding out how children related their contextualization of conceptions in conceptual frameworks to their contextualization of drawings in pictorial convention. Eighteen children were interviewed in a semi‐structured method while they were drawing the Earth. Audio‐recorded interviews, drawings, and notes were analysed to find the cognitive and cultural intentions behind the drawings. Also, even children who demonstrated alternative conceptions of the Earth in the interviews still followed cultural conventions in their drawings. Thus, these alternative conceptions could not be deduced from the drawings. The results indicate that children's drawings can be used to grasp children's conceptions only by considering the meaning the children themselves give to their own drawings.     

Children's choice of drawings to communicate their ideas about technology

This study examines children's choice of drawing to communicate their understanding of the concept “technology”. The study explored whether the children's drawings accurately reflected the depth and range of their understanding of technology in a way that was interpretable by others. Data were collected from 314 primary school children in England and 745 children in Western Australia. Children were invited to demonstrate their knowledge and understanding about technology by responding to a writing/drawing activity and a representative subsample were then interviewed about their responses. About two-thirds of children's responses to the activity included drawings. Children held a wide range of ideas about technology and only rarely was a drawing difficult to interpret. Although overall the drawings reflected the range of children's ideas, sometimes they did not reveal the depth or breadth of an individual child's understanding. Consistent with the ideas represented in the drawings, the interviews found that younger children held simpler ideas about technology, while older children held more complex, and sometimes quite abstract concepts of technology. A notable difference between the two countries was the emphasis on “design and make” and a smaller proportion of no response in the English sample, reflecting the greater length of time technology education has been implemented in England compared to Western Australia.     

A Review of Children's,Teachers' and Parents' Influences on Children's Drawing Experience

In this article we argue that research into children's drawings should consider the context in which drawing occurs and that it is crucial to investigate the attitudes and practices of teachers, parents and children themselves that shape children's drawing experience and the drawings which they produce. We review the findings of seven empirical studies reporting data collected through direct observations, interviews and questionnaires from the three main players (teachers, parents and children) on the attitudes and practices shaping children's drawing. Issues covered include teachers' perceptions of the purposes and importance of drawing, support offered by teachers, parents and children for children's drawing endeavours, and possible factors that may lead to an age‐related decline in the amount of drawing children choose to do. We end the review by reporting some preliminary findings from our own large‐scale interview and survey study of 270 5–14 year old children, their parents and teachers, that provides a comprehensive assessment of attitudes and practices influencing children's drawing experience at home and at school. The findings provide further insight into the aforementioned issues, particularly children's, teachers' and parent's explanations of why children's drawing behaviour might decline with age. It is hoped that by reporting these preliminary findings some additional understanding of the context in which children produce their drawings can be gained and new areas for debate opened up.     

The structure of imagery.

Children's drawings of objects about to be moved in space (anticipatory images) were studied in relation to their judgments about Euclidean spatial relations. Tasks assessing Euclidean geometric operations were administered to 102 girsl between the ages of 4 and 13 years. 5 operative levels resulted: (a) failure on all operations tasks, (b) success on conservation of length, (c) success on conservation and 1-dimensional measurement, (d) success on the latter 2 tasks plus measurement in 2 dimensions, and (e) success on the latter 3 tasks and coordination of internal and external reference frames. The same children performed on 6 imaginal tasks involving movements of objects. Results confirmed several theoretical expectations: (a) children who were unable to measure had difficulty imaging successive positions for 1-dimensional movement; (b) children who were unable to coordinate a point in space by reference to 2 axes were unable to draw states of movement correctly for 2-dimensional movement; (c) children's errors in drawing successive positions of moving objects were related to the structure of operations at the lower levels; and (d) the coordination of object positions over successive states was dependent on the ability to measure from an external frame. The results were interpreted as support for Piaget and Inhelder's theory of imagery development.