Visual Experience or Translation Rules? Drawing the Human Figure by Blind and Sighted Children

Perception ◽  
1975 ◽  
Vol 4 (4) ◽  
pp. 363-371 ◽  
Author(s):  
Susanna Millar
Keyword(s):  
Visual Feedback ◽  
Visual Experience ◽  
Necessary Condition ◽  
Correct Placement ◽  
Positioning Errors ◽  
Human Figure ◽  
Figure Drawings ◽  
Figure Drawing ◽  
Visual Conditions

Figure drawings by 30 blind and 30 sighted children, tested under blindfold and visual conditions, were compared on positioning and drawing scores. Results showed that the majority of the blind, unlike the sighted made positioning errors, and were unaware of the correct placement rule. The older blind did not differ from the sighted on figure drawing, but the younger blind scored significantly worse. Blindfolded compared to visual conditions produced decrements mainly on cohesion and amount of detail by the sighted. The findings suggest that drawing depends on the acquisition of translation rules for which prior visual experience is a facilitating but not a necessary condition. The absence of visual feedback during drawing seems to have detrimental effects mainly on the articulation of drawing.

scholarly journals Evaluation of Figure Drawing Skills of Art Students in Tertiary Institutions. A Case Study of Bolgatanga Polytechnic

2019 ◽  
Vol 2 (4) ◽  
pp. 236-248
Author(s):  
Adjei Akuoko Daniel ◽  
Amenyo Dzikunu-Bansah
Keyword(s):  
Visual Art ◽  
Art Students ◽  
Tertiary Institutions ◽  
Human Figure Drawing ◽  
Human Figure ◽  
Correct Representation ◽  
Industrial Art ◽  
Figure Drawings ◽  
Figure Drawing ◽  
Use Of Knowledge

Figure drawing is at the centre of many visual art programmes in the tertiary institutions in Ghana such as Fashion Designing, Sculpture, Painting and Graphic Designing. This is important because careers in these programmes requires the use of knowledge on correct representation of the human figure. Fortunately, the second cycle Visual Art and General Art programmes syllabi mandates the teaching of figure drawing. Unfortunately, students who are admitted to pursue various programme options in Industrial Art at the Bolgatanga Polytechnic are unable to demonstrate good skill in the drawing of the human figure. This paper therefore sort to identify areas in figure drawing which pose challenging to students. The study was carried out between 2014 and 2017 with the level 100 students of Industrial Art department of the Bolgatanga Polytechnic. The students were made to produce several human figure drawings each week and these drawings were then scored and the various infractions recorded. The study revealed that human figure drawing is a general problem for graduates of the second cycle visual art programme. Areas in the human figure drawing which was very difficult for students to handle included the facial features as well as the fingers. The study recommends that the Ghana Art Teachers Association takes a look at this trend and advice teachers to take lessons of figure drawing serious. Also, figure drawing teachers in Tertiary institutions needs to start the lessons of figure drawing from the basics.

Qualitative Differences in Human Figure Drawings According to Schizophrenic Subtype

1978 ◽  
Vol 47 (3) ◽  
pp. 923-932 ◽  
Author(s):  
Stanley R. Kay
Keyword(s):  
Mentally Retarded ◽  
Specific Content ◽  
Projective Measures ◽  
Human Figure ◽  
Drawing Technique ◽  
Human Figure Drawings ◽  
Figure Drawings ◽  
Figure Drawing ◽  
Adequate Reliability

Human figure drawings were obtained from 136 adult schizophrenics, of whom 63 were mentally retarded. The protocols were evaluated independently by three judges for presence of 14 defined features that stressed the quality rather than specific content of the drawings. Adequate reliability and frequency were established for seven of the parameters, which were then compared for prevalence among subgroups classified by diagnosis, prognosis, chronicity, and level of retardation. Significant differences appeared for all comparisons and each of the analyzed features. The differences among non-retarded schizophrenic subgroups seemed to reflect phenomenological distinctions, while differences associated with intellectual retardation seemed to represent developmental limitations. These data supported the validity of the figure drawing technique for distinguishing among schizophrenic subtypes and underscored the importance of suitable methodology in evaluating projective measures.

scholarly journals ŽMOGAUS PIEŠINIO TESTO PSICHOMETRINIŲ RODIKLIŲ ANALIZĖ

Psichologija ◽  
2007 ◽  
Vol 36 ◽  
pp. 61-73 ◽  
Author(s):  
Dalia Nasvytienė
Keyword(s):  
Psychometric Properties ◽  
Emotional Disturbance ◽  
Clinical Sample ◽  
Emotional Adjustment ◽  
False Negative ◽  
Intellectual Abilities ◽  
Human Figure ◽  
Human Figure Drawings ◽  
Figure Drawings ◽  
Figure Drawing

Tyrimu siekta empiriškai patikrinti Žmogaus piešinio: Kiekybinio įvertinimo sistemos (ŽP: KĮS) ir Žmogaus piešinio: Emocinių problemų atrankos procedūros (ŽP: EPAP) psichometrines savybes. Mokslinių publikacijų šia tema Lietuvoje ir užsienyje yra gerokai mažiau negu yra ŽP naudojimo poreikis. Ištirti 165 vaikai / paaugliai (klinikinę grupę sudarė 95 tiriamieji, jiems būdingi įvairūs elgesio / emociniai sutrikimai, palyginamąją grupę – 70 vaikų / paauglių). Rezultatai liudija silpną konkurencinį ŽP: KĮS validumą palyginus su jei Wechslerio vaikų intelekto skale IIILT. ŽP ir WISC-IIILT rezultatai klinikinėje grupėje labai skiriasi: kai vaikas mėgsta piešti, jo intelekto lygis (įvertintas atsižvelgiant į piešinius) priskiriamas aukštesnei klasifikacijai nei nurodo WISC-IIILT rezultatai; jei nemėgsta piešti – stebėta atvirkštinė tendencija. Tarpgrupinis rezultatų palyginimas atskleidė, kad projekcinės metodikos ŽP: EPAP požymių visuma leidžia diferencijuoti abiejų grupių tiriamųjų piešinius, tačiau 61 proc. klinikinės imties vaikų piešinių buvo įvertinti blogesniais balais, negu yra įvertinamas ryškus emocinių problemų lygis. Pastebėta, kad ŽP metodikos patikimumas yra aukštas. Pagrindiniai žodžiai: vaikų / paauglių psichologinis įvertinimas, Žmogaus figūros piešinys, validumas, patikimumas.THE ANALYSIS OF PSYCHOMETRIC PROPERTIES OF HUMAN FIGURE DRAWINGS’ TEST Dalia Nasvytienė Summary The present study investigated whether Human Figure Drawings (HFD) can be considered as valid and reliable devices to assess the intellectual abilities as well as the emotional adjustment in the practice of child psychologists. HFD are most popular of all drawing techniques often included in test batteries as relatively short, easy-to-administer, friendly and nonthreatening measures. Contradictory empirical evidence concerning their psychometric properties is presented with the aim to overcome the gap between large scale of the practical use and relatively small amount of scientific investigations. Draw-A-Person: A Quantitative Scoring System (DAP:QSS) and Draw-A-Person:Screening Procedure for Emotional Disturbance (DAP:SPED) created by Naglieri J. and colleagues were chosen as the most modern and objective scoring systems in regard to other HFD. Both techniques and WISC-IIILT were administered to clinical sample consisting of 95 children aged 6–16 with emotional / behavioral disturbances and 70 children without clinical disturbances closely matched for the age and gender criteria. T-test, correlations, discriminant and exploratory factor analysis were applied for data analysis. Results suggest that DAP:QSS shortly meets standards of concurrent validity with WISC-IIILT as it was found no statistically significant correlations with the scores of Wechsler Intelligence Scale for Children-IIILT (p > 0.05). A dditionally, noncognitive factors – liking to draw and clinical disturbance – can cause biased results of assessment of intellectual abilities when using DAP: QSS: liking to draw correlates with the higher results as compared to WISC-IIILT scores, while intellectual abilities of the children with clinical disturbance were underestimated (p = 0.00). Standard error of estimation appeared to be higher when using DAP: QSS than WISC-IIILT. The total score of Draw-A-Person:Screening Procedure for Emotional Disturbance was significatly higher in the clinical sample (p = 0.00). It proves the validity of this instrument to screen the children for emotional maladjustment but the cases of false negative screening cast doubt about its strength. Both devices showed good reliability (internal consistency as well as inter-scorer). Key words: Human Figure drawing, reliability, validity.

Human Figure Drawing Characteristics Related to Juvenile Delinquents

1975 ◽  
Vol 40 (2) ◽  
pp. 623-630 ◽  
Author(s):  
Daniel J. Montague ◽  
Robert E. Prytula
Keyword(s):  
Clinical Assessment ◽  
Juvenile Delinquents ◽  
Diagnostic Classification ◽  
Human Figure Drawing ◽  
Medical Diagnostic ◽  
Human Figure ◽  
Training Schools ◽  
Human Figure Drawings ◽  
Figure Drawings ◽  
Figure Drawing

Human figure drawings were scored on seven characteristics popularly attributed to juvenile delinquents, i.e., head size, shading, and three indicators of emotional conflict, i.e., transparencies, omissions, and erasures. Ss were adolescents incarcerated at training schools. Delinquency was defined in terms of MMPI profiles associated with delinquency rather than by social-legal or medical-diagnostic classification. The results fail to support popular hypotheses concerning human figure drawings of delinquents. Delinquents drew significantly more transparencies; however, no other emotional indicator was significant. It was concluded that little support exists for hypotheses concerning human figure drawings of delinquents and drawings should be used with caution in the clinical assessment of a delinquent's personality.

Size of Human Figure Drawing and Goodenough-Harris Scores of Pediatric Oncology Patients: A Pilot Study

1985 ◽  
Vol 60 (3) ◽  
pp. 911-914 ◽  
Author(s):  
Patricia Paine ◽  
Elaine Alves ◽  
Paulo Tubino
Keyword(s):  
Pilot Study ◽  
Cancer Patients ◽  
Pediatric Oncology ◽  
General Surgery ◽  
Self Esteem ◽  
Oncology Patients ◽  
Human Figure Drawing ◽  
Human Figure ◽  
Figure Drawings ◽  
Figure Drawing

Human figure drawings of 12 pediatric oncology patients were significantly smaller in height, width, and area than were drawings of 12 school children and 12 pediatric general surgery patients paired for sex and age. The Goodenough-Harris scores of the cancer patients' drawings were also significantly lower than those of both school and general surgery groups. It is hypothesized that anxiety, lowered self-esteem, and the effects of chemotherapy contributed to these findings.

Analysis of Emotional Indicators in Human Figure Drawings as Related to Self-Esteem

1973 ◽  
Vol 37 (3) ◽  
pp. 795-802 ◽  
Author(s):  
Robert E. Prytula ◽  
Nancy Dunn Thompson
Keyword(s):  
Body Height ◽  
Self Esteem ◽  
The Body ◽  
Drawing Task ◽  
Human Figure Drawing ◽  
Human Figure ◽  
Emotional Indicators ◽  
Figure Drawings ◽  
Figure Drawing ◽  
Consistent Support

2 groups of 10- through 13-yr.-old children were separated for high and low self-esteem, and given a human figure-drawing task. Figures drawn were Man, Woman, Self, and Eskimo. Subsequently, the drawings were scored on six emotional indicators such as body height and width, area, erasures, transparencies, and omissions. The results do not offer consistent support for the body-image hypothesis as related to self-esteem. Ss did not differ in terms of drawn size of Self figure, nor did Ss high in self-esteem draw significantly larger figures across all drawings as compared with those low in self-esteem. Although the latter drew significantly more transparencies, no other conflict indicators were significant in comparing groups of Ss low and high in esteem.

scholarly journals Exploration of Human Figure Drawings Using Charcoal Pencil - Analysis of Post-Graduate Drawings by Zephania Lukamba

2021 ◽  
Vol 3 (1) ◽  
pp. 55-71
Author(s):  
Kamau Wango
Keyword(s):  
Analytical Framework ◽  
Artistic Development ◽  
Human Figure Drawing ◽  
Female Figures ◽  
Human Figure ◽  
Human Figure Drawings ◽  
Figure Drawings ◽  
Hands And Feet ◽  
Figure Drawing ◽  
Different Levels

Human figure drawing is undertaken and ultimately used for a number of purposes. Artists use it to continually sharpen their skills in order to apply it in the execution of their work in artistic disciplines that pertain to self-expression. Students and other groups as well as individuals embark on human figure drawing in order to acquire and horn their skills for purposes of artistic development that is then applied ultimately to their respective artistic endeavours. However, the drawing and acquisition of skills is a process and people render their human figure drawings to different levels of success and finesse at any given stage. In this process, one draws human figures using certain prescribed guidelines. It is expected that as one works within this process, particularly in a formal learning environment like studio-based work, following these guidelines become essential and helpful in attaining a proportional and accurate human figure drawing. In analysing the featured work executed on toned paper, this paper seeks to determine the extent to which the artist applies the basic tenets of human figure drawing and whether the drawings themselves attain this threshold. The analytical framework includes the depiction of correct proportions, the study of gestures, the suggestion of movement and application of value. Within the development of personal style, the artist specifically explores the effect of charcoal pencil on toned paper as his medium of choice. His methodology includes the application of a variety of tones and the use of focused illumination upon pertinent areas in the drawings to create deliberate effects that highlight the drawings, enhance gestures, suggest movement and add dynamism to the drawings. The drawings include photograph referenced male and female figures as well as separate studies of hands and feet

A Correlational Study of Two Methods for Scoring a Human Figure Drawing

1990 ◽  
Vol 7 (1) ◽  
pp. 19-22
Author(s):  
Peter Mertin ◽  
George Wasyluk
Keyword(s):  
New England ◽  
The United States ◽  
Regular School ◽  
Mental Age ◽  
Developmental Progression ◽  
Human Figure ◽  
Figure Drawings ◽  
Cognitive Maturity ◽  
Figure Drawing ◽  
Better Than

Since the discovery that children's human figure drawings followed a clear developmental progression with increasing age, they have been used extensively as estimates of intelligence. From its development in 1926, the Goodenough Draw-a-Man Test provided psychologists and educators with a simple mental age score of a child's cognitive maturity. Its attraction lay in the fact that the test's non-verbal nature and brevity allowed it to be used with those whose language skills or attention span was problematic.In 1963, Harris revised the Draw-a-Man and published his work as the Goodenough-Harris Drawing Test. The test was normed on nearly 3,000 school children aged between 5 and 15 years who were attending regular school classes. The sample was drawn from 10 states covering 4 regions of the United States; the Mid-Atlantic and New England area, the South, the West and the upper Mid-West. However, there was no control for racial distribution. The tendency for girls to perform consistently better than boys of the same age resulted in the development of different norms for the sexes, but with each having a mean standard score of 100, with a standard deviation of 15 at each age level. Harris also devised different scoring standards depending upon whether the drawn figure was a male or female, with 73 scoring points for a male figure and 71 for a female figure.

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