Visual selection contributes to artists' advantages in realistic drawing.

Kozbelt, Aaron; Seidel, Angelika; ElBassiouny, Amanda; Mark, Yelena; Owen, David R.

doi:10.1037/a0017657

Cited by 76 publications

(105 citation statements)

References 34 publications

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“…Perdreau and Cavanagh (2011) similarly failed to find evidence for artists' advantages on tests of size constancy, lightness constancy, and amodal completion. They convincingly argued that artists' perceptual advantages arise from robust representations of object structure in memory, EXPERTS IN VISUAL COGNITION 6 which they can use to efficiently encode and depict the most important aspects of objects (see also Kozbelt, 2001;Kozbelt et al, 2010;Ostrofsky et al, 2012).…”

Section: Experts In Visual Cognitionmentioning

confidence: 99%

See 1 more Smart Citation

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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Section: Experts In Visual Cognitionmentioning

confidence: 99%

“…The Limited-Line Tracing Task, developed by Kozbelt et al (2010), emphasized participants' ability to select the most important information to include in a depiction. The stimulus was a grayscale photograph of an elephant on a white piece of 9" x 11" letter paper (as in Ostrofsky et al, 2012).…”

Section: Embedded Figures Task (Eft) Individual Differences In Disemmentioning

confidence: 99%

Artists as experts in visual cognition: An update.

Chamberlain¹,

Drake²,

Kozbelt³

et al. 2019

Psychology of Aesthetics, Creativity, and the Arts

Self Cite

View full text Add to dashboard Cite

show abstract

“…Delusions pertain to an artist's knowledge of the object under observation, since this prior knowledge tends to guide an artist in her/his representation. Kozbelt, Seidel, El Bassiouny, Mark and Owen (2010) explored visual attention from the perspective of delusions. Other researchers have investigated the relationship between "frequency of observation" and art creation.…”

Section: Introductionmentioning

confidence: 99%

The Relationship between 2D Positioning Ability and Realistic Drawing Skill

Huang¹,

Chen²

2017

ADR

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Realistic drawing ability is a fundamental human trait. However, the cognitive constituents of this ability are poorly understood. This study aims to evaluate the contribution of Two-dimensional (2D) positioning skills in the performance of realistic drawing. 2D positioning refers to an important observation technique employed by artists to locate the correct position of an object in its representation on a blank canvas. Two different types of 2D positioning techniques are considered: absolute positioning (using the canvas boundaries as positioning reference) and relative positioning (using already-drawn components as reference). We used a line-arrangement experimental task to evaluate the positioning abilities of experts and novices; we further measured their realistic drawing ability in a realistic drawing task. Pearson correlation-coefficient analysis showed that both positioning abilities are positively correlated with realistic drawing abilities, but that the two positioning abilities are not correlated. While expert participants were found to be significantly better at absolute positioning than the novice, their relative positioning performance does not differ from that of the novice. These results suggest that absolute and relative positioning are two independent observation techniques, and that experience might improve absolute positioning skills. This implies that absolute positioning is a more advanced technique requiring both training and practice.

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“…It is not possible to encode the infinite gradations in colour and light, or the enormous array of details of a face and thus much information must be omitted, leading to attention to the most valuable information. According to this view, previous research suggests that individual differences in visual perceptual processing underpin differences in realistic drawing ability (Cohen, 2005;Cohen & Bennett, 1997;Kozbelt, Seidel, El Bassiouny, Mark, & Owen, 2010;Ostrofsky, Kozbelt, & Seidel, 2012) and some studies have already drawn attention to local-global processing of drawings in ASD (Drake, Redash, Coleman, Haimson, & Winner, 2010;Drake & Winner, 2012;Mottron, Belleville, & Menard, 1999;Pring, Ryder, Crane, & Hermelin, 2010). Exploring potential correlates of drawing and perceptual expertise in ASD and non-ASD artists or TD people, these studies provided support for the notion that an ability to record and manipulate the details of the visual environment, i.e., local encoding, may be associated with better ability to draw.…”

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confidence: 99%

“Please Draw Me a Face…” Atypical Face Mental Concept in Autism

Meaux

Bakhos²,

Bonnet‐Brilhault³

et al. 2014

PSYCH

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Autism is a severe neurodevelopmental disorder characterized by early manifestations of social difficulties and atypical sensory-based behaviors. As faces are essential for social interaction, they have been widely investigated in autism, revealing disruptions in face processing. Cognitive theories argue that people with autism process the world differently, showing a processing bias for local information. However, the literature currently neglects the mental representation of faces, or face concept, in people with ASD. The current study sought to establish how young children with ASD "see" a human face. A key question is whether this face concept is a function of cognitive style and/or sensory impairment. By comparing simple face drawings in young children with ASD, with those of deaf children and controls, we highlight an atypical face concept in ASD that does not show, however, global processing deficits: face drawing presents a preserved overall configuration. The atypical face drawings in children with ASD showed similarities with those of deaf children: eyes were not an essential feature, whereas a marked interest for ears and non-facial external features (accessories, body parts) was shown. These findings suggest that the face mental concept in ASD may be impacted by sensory processing deficits.

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Visual selection contributes to artists' advantages in realistic drawing.

Cited by 76 publications

References 34 publications

Artists as experts in visual cognition: An update.

Artists as experts in visual cognition: An update.

The Relationship between 2D Positioning Ability and Realistic Drawing Skill

“Please Draw Me a Face…” Atypical Face Mental Concept in Autism

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