By Peter van Sommers

Once we do anything as it sounds as if basic as sketching a map, developing a operating diagram, or drawing an imaginary face to amuse ourselves, we utilise a posh set of skills: perceptual, mechanical, strategic, representational, pragmatic. Peter van Sommers units out to tell apart and describe many of the layers of supplier within the drawing performances of normal humans - adults and kids. Drawings, like language, have a multi-layered constitution. simply because a lot of the constitution represents tacit wisdom, quite a few exact observational and analytic tools has to be built to supply a finished empirical account of image creation. This booklet illuminates the hyperlink among laboratory equipment and the examine of a massive ability exercised within the genuine international. will probably be of curiosity to a variety of cognitive psychologists in addition to to many neuropsychologists and others all in favour of artwork, aesthetics, writing and script evolution.

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Additional resources for Drawing and Cognition: Descriptive and Experimental Studies of Graphic Production Processes

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Each point represents the position of the first dot of a cluster of 10 traced. Each subject completed 20 clusters. Subjects adopted similar starting locations when drawing clusters rather than tracing them. Values at the periphery indicate how many points fell in each 10-degree segment. Note the similarity between right- and left-handers in contrast to stroke­ preference data displayed earlier. a vertical line one moves downward, one inevitably starts at the top. Also, there is a massive amount of evidence that right-handed Western adults favor a starting position near 1 1 o'clock in all sorts of graphic tasks, and as we have seen the central axis for tracing along lines (in Fig.

So it seems reasonable to extend the principle of similarity affecting executive order to the repetition of these larger "semantic" units drawn in a standard manner. In Chapter 1, I showed how stroke direction preferences affected the geometry of tree branches and roots. The tree the drawers reproduced comprised two hierarchies, one proceeding upward from trunk to limbs, branches, and twigs, (perhaps also to leaves), and a similar if not so deep hierarchy of roots below. Subjects took two different approaches to the ordering of their drawings: either they dealt with each level in the hierarchy completely and then proceeded to the next (drawing all limbs before branches, all branches before twigs, and so on), or they moved upward from node to node along one limb, branch, twig, and then repeated this .

When traditional draftspeople used pens and brushes that needed con­ tinual replenishment with ink, there was an upper limit on stroke length that had to be integrated into the structure of the drawing performance. Since all our subjects worked with pencil or nylon-tipped pens, this was not an issue. The analysis of a large number of rectilinear figures shows that drawers are very systematic in determining whether they will lift off or continue. If they have not continued around a comer, it is because they are going to relocate at another point on the figure.

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