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

Cox, Maureen V.; Parkin, C.

doi:10.1080/0144341860060405

Cited by 45 publications

(45 citation statements)

References 4 publications

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“…Most children do produce tadpoles, although the stage may last only days or a matter of months [Cox and Parkin, 1986]. Tadpoles may simply comprise a head with two stick legs, however the intention to depict a person is clear.…”

Section: Experiments 2: 'Behavioural Success' In Drawingmentioning

confidence: 99%

The Development of Cognitive Flexibility: Evidence from Children’s Drawings

Spensley

Taylor

1999

Human Development

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Karmiloff-Smith [1990] has claimed that her ‘draw a strange man’ task indicates that young children’s first successful drawings are produced by inflexible procedural representations – consistent with her Representational Redescription (RR) model. In this paper, children’s drawings of a man with a beard, ‘a strange man’ and a normal man simply interrupted, indicated that young children are able to make modifications mid-procedure in a manner inconsistent with a procedural representation. Examination of the order of production of drawing elements indicated that the sequence is not as rigid as Karmiloff-Smith had predicted. A difference in types of spontaneous modifications with age in the ‘draw a strange man’ task was replicated. However, a further task explicitly requesting all the types of modifications observed in strange-man drawings (e.g., draw a man with something missing) demonstrated that young children have the ability to make all the types modifications, even if they do not do so spontaneously. Theoretical problems with the RR model in the drawing domain are discussed, and a new model, Recursive Re-Representation, is proposed which overcomes these theoretical problems and accounts more parsimoniously for the empirical data.

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Section: Experiments 2: 'Behavioural Success' In Drawingmentioning

confidence: 99%

The Development of Cognitive Flexibility: Evidence from Children’s Drawings

Spensley

Taylor

1999

Human Development

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“…In respect of production, for example, not all children draw consistent forms of a topic at any one time (see Cox & Parkin, 1986). In order to indicate the consistent drawers more reliably, each child in Study 2 produced two drawings of the human gure, one in each of two sessions.…”

Section: Studymentioning

confidence: 99%

The relationship between children's production and comprehension of realism in drawing

Jolley

Knox

Foster

2000

British J of Dev Psycho

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Two studies compared 2‐ to 14‐year‐olds’ production and comprehension of realism in human figure drawings. In the comprehension task, children were asked to choose from an array of children's drawings the (1) most realistic drawing, (2) one they liked the best, and (3) one most similar to their own human figure drawings. Both studies reported that children of all drawing levels typically selected a more advanced drawing than shown in their own productions for all three questions, except that the most advanced drawers consistently estimated their drawing level appropriately. In Study 2, children were also asked to place the drawings in an age‐related developmental sequence. Performance on this task was positively related to the child's production level, independently of the child's age. It is concluded that production lags comprehension in drawing development, but that production level may have an influence on children's knowledge of the developmental sequence in drawing.

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“…This position is also supported by research across a range of drawing tasks which suggests that although there are individual differences in children's human figure drawings, children tend to pass through general developmental phases (e.g. Barrett & Eames, 1996;Cox, 1992Cox, , 1993Cox & Parkin, 1986;Fenson, 1985;Goodnow, 1977).…”

Section: The Effects Of Drawing Materialsmentioning

confidence: 67%

“…For example, research examining the progression from intellectual to visual realism suggests that task demands can greatly influence the nature of children's representations (Arrowsmith, Cox & Eames, 1994;Barrett & Bridson, 1983;Barrett & Light, 1976;Barrett, Beaumont & Jennett, 1985;Barrett, Sutherland & Lee, 1987;Chen & Holman, 1984;Cox, 1981Cox, , 1985Cox & Parkin, 1986;Davis, 1983Davis, , 1985aDavis, , 1985bDavis & Bentley, 1984;Lewis et. al., 1993;Light & McEwan, 1987;Light & Simmons, 1983;Parsons, 1995;Sitton & Light, 1992).…”

Section: The Effects Of Drawing Materialsmentioning

confidence: 99%

The effects of different drawing materials on children’s drawings of positive and negative human figures

Burkitt

Barrett

2011

Educational Psychology

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Children tend to use certain drawing strategies differentially when asked to draw topics with positive and negative emotional characterisations. These effects have however only been established when children are asked to use standard drawing materials. The present study was designed to investigate whether the above pattern of children's response when drawing characterised figures would alter when children are asked to use different drawing materials. 132 children (69 boys and 63 girls) aged between 4 and 11 years were divided into two conditions and completed two counterbalanced test sessions, rating colour preferences and drawing characterised figures using either stick or block crayons. It was found that some drawing strategies varied in relation to drawing materials and in relation to the precise characterisation employed. The results are discussed in terms of the need for interpretations of emotional information in children's drawings to take account of the exact materials used.

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

Cited by 45 publications

References 4 publications

The Development of Cognitive Flexibility: Evidence from Children’s Drawings

The Development of Cognitive Flexibility: Evidence from Children’s Drawings

The relationship between children's production and comprehension of realism in drawing

The effects of different drawing materials on children’s drawings of positive and negative human figures

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