Journal articles: 'Psychology of Drawing'

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Braine, Lila Ghent. "Drawing Conclusions About Children's Drawings." Contemporary Psychology: A Journal of Reviews 33, no. 10 (October 1988): 899–900. http://dx.doi.org/10.1037/026126.

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Carpenter, Patricia A. "Drawn in by Drawing." Contemporary Psychology: A Journal of Reviews 37, no. 4 (April 1992): 289–90. http://dx.doi.org/10.1037/031967.

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Bauer, Angelika, and Gudrun Kaiser. "Drawing on drawings." Aphasiology 9, no. 1 (January 1995): 68–78. http://dx.doi.org/10.1080/02687039508248692.

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Joiner Jr., Thomas E., and Kristen L. Schmidt. "Drawing Conclusions--Or Not-From Drawings." Journal of Personality Assessment 69, no. 3 (December 1997): 476–81. http://dx.doi.org/10.1207/s15327752jpa6903_2.

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Kato, Daiki, and Mikie Suzuki. "Developing a Scale to Measure Total Impression Of Synthetic House-tree-person Drawings." Social Behavior and Personality: an international journal 44, no. 1 (February 18, 2016): 19–28. http://dx.doi.org/10.2224/sbp.2016.44.1.19.

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We developed a scoring scale for the method of total impression of projective drawing. We focused especially on the Synthetic House-Tree-Person (S-HTP) projective drawing technique. First, we asked 7 clinical psychology graduate students to write down key words that they associated with total impressions of S-HTP drawings. Second, we selected 35 items based on these words and developed the Scale for Total Impression of Drawings (STID). Using the STID, 6 clinical psychologists rated 30 S-HTP pictures drawn by Japanese junior high school students. Finally, we selected 12 descriptive words as items and results of confirmatory factor analysis indicated that the STID was divided into 4 subscales we labeled as vitality, reality, themes, and gentleness. These converged with 2 higher factors of emotional stability and context consistency. Fit indexes of the model were sufficient.

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Jacobs, E. W. "The Versatile Mirror Drawing Apparatus." Teaching of Psychology 12, no. 3 (October 1985): 169–70. http://dx.doi.org/10.1207/s15328023top1203_17.

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The mirror drawing apparatus (MDA) is presented as a versatile tool for providing an experiential activity to emphasize key points and generate discussion, and it serves to introduce laboratory equipment to the classroom. Three specific applications of the MDA for general psychology, educational psychology, and recruiting are described in detail. Introductory lecture material, observed class reactions, and sample discussion topics are presented. Other potential uses for the MDA are also offered. Finally, some cautions are noted, and readers are urged not to be constrained by any equipment's designed purpose, but to seek creative applications.

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Taguchi, Masanori, and Yutaka Noma. "Relationship between Directionality and Orientation in Drawings by Young Children and Adults." Perceptual and Motor Skills 101, no. 1 (August 2005): 90–94. http://dx.doi.org/10.2466/pms.101.1.90-94.

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The present study examined the relationship between directionality of drawing movements and the orientation of drawn products in right-handed adults and young children for 27 Japanese kindergartners and 29 Japanese university students who were asked to draw with each hand fishes in side view and circles from several starting points. Significant values of χ2 for distributions of frequencies of orientation of the fish drawings and the direction of circular drawing movement indicated that adult right-handers drawing the fish facing to the left tended to draw a circle clockwise when they drew with the dominant hand, while there was no such significant relationship in young children's drawings. This result may suggest that the reading and writing habits may be implicated in the direction of drawing movements with the dominant hand, and this directional bias of drawing movement in the dominant hand can appear in the orientation of finished drawings.

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PASLEY, FRANCIS, and RALPH RABINOVITCH. "An Introduction to the Psychology of Children's Drawing." Journal of the American Academy of Child & Adolescent Psychiatry 31, no. 3 (May 1992): 573–74. http://dx.doi.org/10.1097/00004583-199205000-00041.

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Penn, Leslie Rech. "Room for monsters and writers: Performativity in children’s classroom drawing." Contemporary Issues in Early Childhood 21, no. 3 (January 4, 2019): 208–23. http://dx.doi.org/10.1177/1463949118819456.

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Much research on children’s classroom drawing emerged from an interest in the relationships between drawing and early writing and focused on drawing as a pedagogical tool to engage young children in planning, generating, and illustrating story ideas. In an eight-month case study of children’s drawing in a kindergarten language arts curriculum, the author focused on children’s classroom drawing not as a pedagogical intervention, but as an emergent event in which the intra-actions of children, drawing, and discourses coalesce. Of the many findings from this project, prevalent is the notion that children’s drawing and drawings function as vehicles for more than just pre-literacy—that drawing and drawings produce critical, creative, and constructive thinking and learning. In this article, the author discusses children’s drawing and drawings as events in which the often divergent interests of children, teachers, and curriculum materialize. Butler’s and Barad’s notions of performativity—the ways in which bodies materialize larger social discourses, such as gender—help the author to make sense of the ways children perform popular culture discourses, such as “monster,” or local classroom discourses, such as “writer,” in the kindergarten classroom. In looking at children’s drawing and drawings as material, discursive, and productive events, the author hopes to expand perceptions of children’s drawing beyond indicators of development, aesthetics, or literacy acquisition into critical, creative, and constructive learning experiences with significant cultural implications.

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Fiorella, Logan, and Qian Zhang. "Drawing Boundary Conditions for Learning by Drawing." Educational Psychology Review 30, no. 3 (June 19, 2018): 1115–37. http://dx.doi.org/10.1007/s10648-018-9444-8.

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Baluch, Bahman, Linda J. Duffy, Rokhsareh Badami, and Elisangela C. Ap Pereira. "A cross-continental study on children's drawings of football players: Implications for understanding key issues and controversies in human figure drawings." Europe’s Journal of Psychology 13, no. 3 (August 31, 2017): 455–71. http://dx.doi.org/10.5964/ejop.v13i3.1237.

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Professionals examine various aspects of girls’ and boys’ drawings as a way of understanding their intelligence, personality and emotional state. However, the extent to which such measures could be universally generalised or attributed to a specific cultural norm is still a debatable issue. In the present study five key features of children’s drawings namely: the size (height) of the drawings, profile or full face, figure in action or static, shaded or non-shaded and the nature of additional details were examined from a cross-cultural perspective, and by providing a topic (football) for which children’s drawing of a human figure could provide opportunities for the latter indices to manifest and flourish. Children from three countries; England, Iran and Brazil, representing three continents took part in this study. The participants were asked to draw a football player from their own country and from the other participating countries. The results showed that Brazilian children differ from Iranian and English children by drawing significantly smaller figures and putting more football action in the drawings. Shading of the figure drawn was more prevalent amongst English children. Such findings have implications for the interpretation of key aspects of children's drawings in educational, clinical and therapeutic settings and from a universal vs. culturally-specific viewpoint.

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Sitton, Ruth, and Paul Light. "Drawing to differentiate: Flexibility in young children's human figure drawings." British Journal of Developmental Psychology 10, no. 1 (March 1992): 25–33. http://dx.doi.org/10.1111/j.2044-835x.1992.tb00560.x.

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MacRae, Christina. "Representing Space: Katie's Horse and the Recalcitrant Object." Contemporary Issues in Early Childhood 9, no. 4 (January 1, 2008): 275–86. http://dx.doi.org/10.2304/ciec.2008.9.4.275.

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This article is a practitioner's attempt to resist habitual ways of interpreting and responding to young children's drawings. Early art education as a discipline is shot through with complexities, including wider shifting social discourses. This article specifically explores the continuing and powerful effect that Piaget's developmental approach has had on ways that teachers expect children to represent the world. The critique of Piaget examines how his stages of cognitive development intersect with an account of perspective that naturalises the claims it makes to represent the world. Critical analysis of responses to a child's drawing draws attention to the ways that this normative and perspectival approach frames readings of the drawing. In order to create new ways of thinking about the drawing, the article offers a material critique of the logic of representation. In this alternative account the object that has been drawn stubbornly refuses to stand in for the real. Difference rather than resemblance is introduced into the reading of children's drawings.

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Zavagno, Daniele. "Review: The Psychology of Graphic Images: Seeing, Drawing, Communicating." Perception 32, no. 7 (July 2003): 897–98. http://dx.doi.org/10.1068/p3207rvw.

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Suzuki, Miho, Jiro Gyoba, and Michiko Kano. "Analyzing the Aesthetic Impressions of Alexithymic Japanese Students." Psychological Reports 94, no. 2 (April 2004): 669–82. http://dx.doi.org/10.2466/pr0.94.2.669-682.

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We investigated the association between alexithymic tendencies as measured by the 20-item Toronto Alexithymia Scale and the characteristics of aesthetic impressions for words and drawings. Impressions were measured using the semantic differential technique in three groups of Japanese students (High scores n = 31, Moderate scores n = 40, and a Control group n = 182) who were presented only words (Word condition), only drawings (Drawing condition), or pairs comprising one word plus one drawing that represented the same emotional categories (Drawing/Word condition). In a factor analysis on the data from participants, three factors (Evaluation, Activity, and Potency) were extracted. Based on the factor scores, the distances among the three conditions were calculated for each of the groups. For Potency, significant group differences were found between the Drawing/Word and other conditions. In the High-scoring alexithymia group, in particular, the Potency impressions based on tactile sensation, e.g., soft–hard, blunt–sharp, were amplified regardless of stimulus condition. These results are discussed in the context of somatosensory amplification associated with alexithymia and the difficulty of distinguishing between emotion and somatic sensations.

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Tracy, Joseph I., Jose de Leon, Robert Doonan, John Musciente, Timothy Ballas, and Richard C. Josiassen. "Clock Drawing in Schizophrenia." Psychological Reports 79, no. 3 (December 1996): 923–28. http://dx.doi.org/10.2466/pr0.1996.79.3.923.

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The Clock Drawing Test, a task sensitive to cognitive decline in neurological groups, was administered to 27 patients with schizophrenia. Clock drawings were scored for over-all global performance and the frequency of specific qualitative errors. Mean global performance scores indicated a small proportion of the sample was below the threshold typically used to identify dementia, and the patients displayed qualitative Clock Drawing deficits not fully represented in the global performance measure. Qualitative analyses indicated that size errors, graphic difficulty, and spatial planning problems were most common. Lastly, duration of illness was not related to global performance, suggesting that the latter might not reflect deterioration but the stable trajectory of impairment that may be constant through the schizophrenia illness.

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Atmore, Chris. "Drawing the Line:." Journal of Homosexuality 30, no. 1 (December 17, 1995): 23–52. http://dx.doi.org/10.1300/j082v30n01_02.

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18

Goldstein, E. Bruce. "Perception, Physiology, and Drawing." Contemporary Psychology: A Journal of Reviews 37, no. 4 (April 1992): 330–31. http://dx.doi.org/10.1037/031996.

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Merten, Thomas, and Christina Diederich. "Bicycle Drawing Test: High Rate of Right-to-Left Drawings." Zeitschrift für Neuropsychologie 20, no. 1 (January 2009): 85–86. http://dx.doi.org/10.1024/1016-264x.20.1.85.

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Ostrofsky, Justin, Ryan Pletcher, and Jesse Smith. "The Effects of Disrupting Holistic Processing on the Ability to Draw a Face." Art and Perception 8, no. 1 (March 4, 2020): 68–88. http://dx.doi.org/10.1163/22134913-20191136.

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Previous research has demonstrated that those more skilled in drawing tend to exhibit stronger local perceptual processing biases than those less skilled in drawing. However, due to the correlational nature of this research, it is unclear whether drawing performance is facilitated by biasing perception towards local visual information. In order to investigate this, we conducted an experiment where participants drew an aligned face or a horizontally-misaligned face. Previous perceptual research has demonstrated that aligned faces are processed holistically, whereas misaligned faces are processed locally. Thus, drawings of aligned faces are assumed to be guided by holistic processing, whereas drawings of misaligned faces are assumed to be guided by local processing. Drawings were objectively measured according to the relative spatial positioning of facial features. Relative to drawings of aligned faces, the accuracy of misaligned face drawings was either impaired (for drawings of the distance between the eyes and mouth) or was not affected (for drawings of the interocular distance, the distance between the nose and mouth, and the distance between the eyes and eyebrows). This pattern of drawing errors mirrored the effects of face inversion that has previously been reported, another manipulation that is thought to disrupt holistic processing. At least with respect to drawing the relative spatial positioning of facial features, we did not observe any evidence that supports the notion that biasing perceptual processing towards local visual information directly facilitates drawing performance.

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Simon, Herbert A. "What is an “Explanation” of Behavior?" Psychological Science 3, no. 3 (May 1992): 150–61. http://dx.doi.org/10.1111/j.1467-9280.1992.tb00017.x.

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The cognitive “revolution” in psychology introduced a new concept of explanation and somewhat novel methods of gathering and interpreting evidence. These innovations assume that it is essential to explain complex phenomena at several levels, symbolic as well as physiological; complementary, not competitive. As with the other sciences, such complementarity makes possible a comprehensive and unified experimental psychology. Contemporary cognitive psychology also introduced complementarity of another kind, drawing upon, and drawing together, both the behaviorist and the Gestalt traditions.

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Pezzella, Anna Maria, and Antonio Calcagno. "Phenomenology and Psychology." Symposium 25, no. 2 (2021): 17–30. http://dx.doi.org/10.5840/symposium202125213.

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Edith Stein came to phenomenology after beginning her university studies in psychology. She struggled with the inability of psychology to justify and delineate its founding principles. She found in Edmund Husserl, though his sustained criticisms of psychologism, the possibility of a phenomenological ground for psychology. This article demonstrates how Stein, drawing from but also distancing herself from Husserl, justifies the possibility of a phenomenological psychology framed within a personalist structure of subjectivity and sociality.

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Pellegrini, Dario W. "Splitting and projection: drawing on psychodynamics in educational psychology practice." Educational Psychology in Practice 26, no. 3 (September 2010): 251–60. http://dx.doi.org/10.1080/02667363.2010.495209.

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Potměšilová, Petra, and Miloň Potměšil. "Test of “gentleman and dog” drawn by deaf and hard of hearing children." Ceskoslovenska psychologie 65, no. 2 (April 25, 2021): 112–24. http://dx.doi.org/10.51561/cspsych.65.2.112.

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Objectives. The aim of the study was to highlight the specific features in the “gentleman and dog” drawings of children with hearing impairment who experience problems with verbalization. Sample and setting. The primary sample was 53 preschool children with hearing impairment. The design of the research was mixed. The drawings were qualitatively analysed with an enumeration of character frequency. The hypotheses were verified by a two-factor analysis and a two-sample T-test. Hypotheses. H1 There is no relation between the level of intelligence and the drawing. H2 There is no relation between the drawing and the sex of the child. H3 There is no relation between the drawing and the age of the child. H3 There is no relation between the drawing and the hearing impairment of the parents. Statistical analysis. There was a correlation between the results in the IQ test and the raw scores of the gentleman drawing at the level of 0.05 and the IQ test results and the raw scores of the dog drawing at level 0.01. The relationship between the sex, age, and level of the gentleman drawing has not been established. In the case of dog drawing, a statistically significant effect on the significance level of 0.05 only for sex (F (1, 48) = 6.15, p = 0.02) was demonstrated. In the event of the influence of the hearing impairment of parents on the child drawing, a statistically significant relationship was not supported. Results. Drawings of “gentleman and dog” of children with hearing impairment show signs of a lower developmental level by one to two years compared to hearing peers. Limits of the study. From the point of view of statistical processing requirements, the number of respondents may be considered to be limiting, but this is 80% of the selected population.

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Cai, Dengchuan. "Association of Stability of Line Drawing and Drawing Performance." Perceptual and Motor Skills 105, no. 3_suppl (December 2007): 1099–108. http://dx.doi.org/10.2466/pms.105.4.1099-1108.

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CAI, DENGCHUAN. "ASSOCIATION OF STABILITY OF LINE DRAWING AND DRAWING PERFORMANCE." Perceptual and Motor Skills 105, no. 7 (2007): 1099. http://dx.doi.org/10.2466/pms.105.7.1099-1108.

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Lou, Leon. "Size Inflation in Drawing From Mirror and Proportional Accuracy in Observational Drawing." Perception 49, no. 7 (June 20, 2020): 749–70. http://dx.doi.org/10.1177/0301006620933147.

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In three experiments, a bias to inflate in drawing the proportion of an image on a mirror over the mirror itself is demonstrated in a sample ( N = 146) of undergraduate students taking introductory psychology classes. The inflation is not confined to the image of one’s own head but is likely to occur in depictions of any object from a mirror with the mirror frame included. Having to include in the drawing background objects visible in the mirror is found to reduce the inflation. The inflation also diminishes with a smaller mirror and at a longer viewing distance. An account for the inflation in terms of a mechanism of size constancy contingent on selective attention is offered. The size of the inflation suggests a conflation of the perceived mirror image size with the size of the distal object it signals rather than a complete take-over by the latter. The reduction of the size inflation when participants are asked draw both a target and background objects is more likely a result of the selective attention to proportional relationships in the mirror scene, rather than a manifestation of an evenly scaled visual space under distributed visual spatial attention. The implications of the findings to improving proportional accuracy in observational drawing are discussed.

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Thomas, Glyn V., Elizabeth Chaigne, and Tania J. Fox. "Children's drawings of topics differing in significance: Effects on size of drawing." British Journal of Developmental Psychology 7, no. 4 (November 1989): 321–31. http://dx.doi.org/10.1111/j.2044-835x.1989.tb00808.x.

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Kennedy, John M., and Maureen V. Cox. "Children Drawing People." American Journal of Psychology 109, no. 1 (1996): 150. http://dx.doi.org/10.2307/1422932.

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Schmeck, Annett, Richard E. Mayer, Maria Opfermann, Vanessa Pfeiffer, and Detlev Leutner. "Drawing pictures during learning from scientific text: testing the generative drawing effect and the prognostic drawing effect." Contemporary Educational Psychology 39, no. 4 (October 2014): 275–86. http://dx.doi.org/10.1016/j.cedpsych.2014.07.003.

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Tchalenko, John, and R. Chris Miall. "Auguste Rodin Draws Blind: An Art and Psychology Study." Leonardo 52, no. 5 (October 2019): 483–91. http://dx.doi.org/10.1162/leon_a_01553.

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Late in his life Rodin produced many thousand “instant drawings.” He asked models to make natural energetic movements, and he would draw them at high speed without looking at his hand or paper. To help understand his “blind drawing” process, the authors tracked the eye and hand movements of art students while they drew blind, copying complex lines presented to them as static images. The study found that line shape was correctly reproduced, but scaling could show major deficiencies not seen in Rodin's sketches. The authors propose that Rodin's direct vision-to-motor strategy, coupled with his high expertise, allowed him to accurately depict in one sweep the entire model, without “thoughts arresting the flow of sensations.”

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Roivainen, Eka, and Piritta Ruuska. "The Use of Projective Drawings to Assess Alexithymia." European Journal of Psychological Assessment 21, no. 3 (January 2005): 199–201. http://dx.doi.org/10.1027/1015-5759.21.3.199.

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Abstract. Background: The goal of this study was to investigate whether the results of assessments of alexithymia based on a self-report questionnaire, the Toronto Alexithymia Scale (TAS), correlates with those based on drawing content in the Wartegg Drawing Completion Test (WZT). It was hypothesized that high alexithymia scores in the TAS are negatively correlated to the number of human drawings in the WZT. Method: Subjects were 83 patients of the Oulu Deaconess Institute, Oulu, Finland. Results: The TAS mean score for subjects with no human drawings was 56.0 compared to 45.4 for those with one or more human drawings (p < .001). Conclusions: The results can be considered encouraging concerning the overall usefulness and validity of the WZT. It is concluded that efforts to develop a psychometrically valid and reliable method of interpreting the WZT should be continued.

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Burkitt, Esther, and Dawn Watling. "The impact of audience age and familiarity on children’s drawings of themselves in contrasting affective states." International Journal of Behavioral Development 37, no. 3 (March 28, 2013): 222–34. http://dx.doi.org/10.1177/0165025413478257.

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The present study was designed to investigate the impact of familiarity and audience age on children’s self-presentation in self-drawings of happy, sad and neutral figures. Two hundred children (100 girls and 100 boys) with the average age of 8 years 2 months, ranging from 6 years 3 months to 10 years 1 month, formed two age groups and five conditions ( n = 20). All children completed two counterbalanced sessions. Session 1 consisted of drawing a neutral figure followed by a sad and happy figure in counterbalanced order. The drawing instructions specified the age of the audience (adult vs. child) and familiarity (familiar vs. unfamiliar) differently for each condition. Measures of colour preference were taken in session 2. Certain drawing strategies, such as waving and smiling, varied as a function of audience age and familiarity whilst others, such as colour use, did not. The results are discussed in terms of cue dependency and framework theories of children’s drawings and the need to be aware of specific characteristics of who children are drawing for.

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Grice, James W. "Drawing inferences from randomization tests." Personality and Individual Differences 179 (September 2021): 110931. http://dx.doi.org/10.1016/j.paid.2021.110931.

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Freyd, Jennifer J. "Drawing From the Bottom Up." Contemporary Psychology: A Journal of Reviews 30, no. 10 (October 1985): 776–77. http://dx.doi.org/10.1037/023239.

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UMEMURA, Kotaro. "THE RELATIONSHIP OF ALEXITHYMIA TO THE HOUSE-DRAWING-TEST AND THE ROOM-DRAWING-TEST." PSYCHOLOGIA 62, no. 2 (2020): 140–62. http://dx.doi.org/10.2117/psysoc.2020-b011.

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Bloomgarden, Joan. "Drawing on Questions." Art Therapy 17, no. 3 (January 2000): 183–87. http://dx.doi.org/10.1080/07421656.2000.10129709.

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Fox, Tania J., and Glyn V. Thomas. "Children's drawings of an anxiety-eliciting topic: Effects on the size of the drawing." British Journal of Clinical Psychology 29, no. 1 (February 1990): 71–81. http://dx.doi.org/10.1111/j.2044-8260.1990.tb00850.x.

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Knight, Linda, Lyn Zollo, Felicity McArdle, Tamara Cumming, Jane Bone, Avis Ridgway, Corinna Peterken, and Liang Li. "Drawing out critical thinking: testing the methodological value of drawing collaboratively." European Early Childhood Education Research Journal 24, no. 2 (February 24, 2016): 320–37. http://dx.doi.org/10.1080/1350293x.2016.1143270.

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Chappell, Patricia A., and Jean A. Steitz. "Young Children's Human Figure Drawings and Cognitive Development." Perceptual and Motor Skills 76, no. 2 (April 1993): 611–17. http://dx.doi.org/10.2466/pms.1993.76.2.611.

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The age-stage relationship between young children's human figure drawings and Piaget's levels of cognitive development was investigated using 45 young children ages 4 through 6 years Analyses indicated a distinct monotonic trend between cognitive stage and drawing level; as cognitive ability increased so did drawing level. This suggests that children's human figure drawings can be a simple tool for the quick assessment of cognitive levels in young children.

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SOILEVUO GRØNNERØD, JARNA, and CATO GRØNNERØD. "Are large drawings signs of psychological expansion or effects of drawing skills? A critical evaluation of Wartegg drawing size categories in a Finnish sample." Scandinavian Journal of Psychology 51, no. 1 (February 2010): 63–67. http://dx.doi.org/10.1111/j.1467-9450.2009.00729.x.

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Wilkinson, Simon. "Drawing up boundaries: a technique." Journal of Family Therapy 7, no. 2 (1985): 99–111. http://dx.doi.org/10.1046/j..1985.00669.x.

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Carson, Linda, Nadine Quehl, Inara Aliev, and James Danckert. "Angle-Based Drawing Accuracy Analysis and Mental Models of Three-Dimensional Space." Art & Perception 2, no. 1-2 (2014): 183–212. http://dx.doi.org/10.1163/22134913-00002019.

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Drawing from a still-life is a complex visuomotor task. Nevertheless, experts depict three-dimensional subjects convincingly with two-dimensional images. Studies of drawing have historically relied on human critics’ judgement of the drawings, the professional reputations and self-reported experience of the drawers. To extend that work, we developed an objective measurement of the accuracy of a perspective drawing, based on a comparison of the drawing with a ground truth photograph of the subject taken from the same viewpoint. If we measure the angles at intersecting edges in the drawings we can calculate both local errors and each person’s mean percentage magnitude error across angles in the still life. This gives a continuous objective measure of drawing accuracy that correlates well with years of art experience. Drawing expertise may depend to some extent on more accurate internal models of 3D space. To explore this possibility we had adults with a range of drawing experience draw a still life. Participants also made perceptual judgements of still lifes, both from direct observation and from an imagined side view. A conventional mental rotation task failed to differentiate drawing expertise. However, those who drew angles more accurately were also significantly better judges of slant, i.e., the pitch of edges in the still life. Those with the most drawing experience were significantly better judges of spatial extent, i.e., which landmarks were leftmost, rightmost, nearest, farthest etc. The ability to visualize in three dimensions the orientation and relationships of components of a still life predicts drawing accuracy and expertise.

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Neisworth, John T., and Dolores S. Hartman. "Book Review: Human Figures Drawing Test." Journal of Psychoeducational Assessment 8, no. 2 (June 1990): 195–98. http://dx.doi.org/10.1177/073428299000800214.

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Schock, Hannelore H., and Patti L. Harrison. "Book Review: Human Figure Drawing Test." Journal of Psychoeducational Assessment 16, no. 3 (September 1998): 265–69. http://dx.doi.org/10.1177/073428299801600308.

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Fang, Wei. "Multilevel Modeling and the Explanatory Autonomy of Psychology." Philosophy of the Social Sciences 50, no. 3 (May 20, 2020): 175–94. http://dx.doi.org/10.1177/0048393120917633.

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This article argues for the explanatory autonomy of psychology drawing on cases from the multilevel modeling practice. This is done by considering a multilevel linear model in personality and social psychology, and discussing its philosophical implications for the reductionism debate in philosophy of psychology. I argue that this practice challenges the reductionist position in philosophy of psychology, and supports the explanatory autonomy of psychology.

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Abben, Daniel R., Shanique G. Brown, Verena Graupmann, Stefanie A. Mockler, and Gregory F. Fernandes. "Drawing on Social Psychology Literature to Understand and Reduce Workplace Discrimination." Industrial and Organizational Psychology 6, no. 4 (December 2013): 476–79. http://dx.doi.org/10.1111/iops.12088.

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Kirk, A., and A. Kertesz. "Subcortical Contributions to Drawing." Brain and Cognition 21, no. 1 (January 1993): 57–70. http://dx.doi.org/10.1006/brcg.1993.1004.

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Burkitt, Esther, and Martyn Barrett. "The effects of different drawing materials on children’s drawings of positive and negative human figures." Educational Psychology 31, no. 4 (July 2011): 459–79. http://dx.doi.org/10.1080/01443410.2011.568472.

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Brechet, Claire, and Richard P. Jolley. "The Roles of Emotional Comprehension and Representational Drawing Skill in Children's Expressive Drawing." Infant and Child Development 23, no. 5 (February 12, 2014): 457–70. http://dx.doi.org/10.1002/icd.1842.

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Journal articles on the topic 'Psychology of Drawing'

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