The genesis of errors in drawing

Chamberlain, Rebecca; Wagemans, Johan

doi:10.1016/j.neubiorev.2016.04.002

Cited by 42 publications

(35 citation statements)

References 60 publications

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“…On the other hand, the visual perception of artists may differ from that of average observers. For example, it has been observed that skilled artists may differ in aspects of visual cognition (Chamberlain & Wagemans, 2015, 2016; Kozbelt, 2001; Perdreau & Cavanagh, 2013a, 2014, but see Perdreau & Cavanagh, 2013b). Chamberlain, McManus, Brunswick, Rankin, and Riley (2015) found that in a large population of student artists greater drawing ability was correlated with higher ROCF copy scores, and Gallagher and Burke (2007) found differences in raw ROCF scores based on factors such as IQ and gender.…”

Section: Discussionmentioning

confidence: 99%

Diagnosing the Periphery: Using the Rey–Osterrieth Complex Figure Drawing Test to Characterize Peripheral Visual Function

2017

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Peripheral vision is strongly limited by crowding, the deleterious influence of neighboring stimuli on target perception. Many quantitative aspects of this phenomenon have been characterized, but the specific nature of the perceptual degradation remains elusive. We utilized a drawing technique to probe the phenomenology of peripheral vision, using the Rey–Osterrieth Complex Figure, a standard neuropsychological clinical instrument. The figure was presented at 12° or 6° in the right visual field, with eye tracking to ensure that the figure was only presented when observers maintained stable fixation. Participants were asked to draw the figure with free viewing, capturing its peripheral appearance. A foveal condition was used to measure copying performance in direct view. To assess the drawings, two raters used standard scoring systems that evaluated feature positions, spatial distortions, and omission errors. Feature scores tended to decrease with increasing eccentricity, both within and between conditions, reflecting reduced resolution and increased crowding in peripheral vision. Based on evaluation of the drawings, we also identified new error classes unique to peripheral presentation, including number errors for adjacent similar features and distinctive spatial distortions. The multifaceted nature of the Rey–Osterrieth Complex Figure—containing configural elements, detached compound features, and texture-like components—coupled with the flexibility of the free-response drawing paradigm and the availability of standardized scoring systems, provides a promising method to probe peripheral perception and crowding.

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Section: Discussionmentioning

confidence: 99%

Diagnosing the Periphery: Using the Rey–Osterrieth Complex Figure Drawing Test to Characterize Peripheral Visual Function

2017

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“…Research on artist versus non-EXPERTS IN VISUAL COGNITION 7 artist differences in perception has gathered momentum in the last decade (Chamberlain & Wagemans, 2016;Kozbelt & Ostrofsky, in press). Some key findings, such as an association between drawing skill and local visual processing, have replicated repeatedly (Chamberlain et al, 2013;Chamberlain & Wagemans, 2015;Drake & Winner, 2011).…”

Section: Artists and Perception: Where Things Standmentioning

confidence: 99%

Artists as experts in visual cognition: An update.

Chamberlain¹,

Drake²,

Kozbelt³

et al. 2019

Psychology of Aesthetics, Creativity, and the Arts

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The question of whether and how visual artists see the world differently than non-artists has long engaged researchers and scholars in the arts, sciences, and humanities. Yet as evidence regarding this issue accumulates, it has become clear that the answers to these questions are by no means straightforward. With a view to advancing ongoing debate in this field, the current study aimed to replicate and extend previous research by exploring the differences in visual-spatial ability between art students (n = 42) and non-art students (n = 37), using a comprehensive battery of visual-spatial and drawing tasks. Art students outperformed non-art students on drawing measures and some (but not all) visual-spatial tasks. This nuanced pattern of results broadly supports the notion that art students differ from non-art students in their ability to exert top-down control over attentional processing, but not in the phenomenology of low-level visual processing. Implications for theories of artistic expertise are discussed.

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“…Although no direct assessment was made of the students' observational abilities, this course integrated observational theory into the sessions and therefore an improved ability to interpret visual information might be an indirectly acquired skill. Certainly, flaws in visual perception are commonly identified as the origin of drawing errors (Chamberlain & Wagemans, 2016) and it seems reasonable to infer that an improved facility to draw would be commensurate with improved observation. Examining if better drawing is a product of better observation would be an interesting area for future studies.…”

Section: Improvement In Drawing Skillsmentioning

confidence: 99%