Eye-hand strategies in copying complex lines

Visual free recall and recognition in art students and laypeople

Artists and laypeople differ in their ability to create drawings. Previous research has shown that artists have improved memory performance during drawing; however, it is unclear whether they have better visual memory after the drawing is finished. In this paper, we focused on the question of differences in visual memory between art students and the general population in two studies. In Study 1, both groups studied a set of images and later drew them in a surprise visual recall test. In Study 2, the drawings from Study 1 were evaluated by a different set of raters based on their drawing quality and similarity to the original image to link drawing evaluations with memory performance for both groups. We found that both groups showed comparable visual recognition memory performance; however, the artist group showed increased recall memory performance. Moreover, they produced drawings that were both better quality and more similar to the original image. Individually, participants whose drawings were rated as better showed higher recognition accuracy. Results from Study 2 also have practical implications for the usage of drawing as a tool for measuring free recall - the majority of the drawings were recognizable, and raters showed a high level of consistency during their evaluation of the drawings. Taken together, we found that artists have better visual recall memory than laypeople.

Specific and shared cognitive predictors of drawing and block building in typically developing children

Introduction

Spatial construction is a complex ability involving attention, global/local visual processing, mental representation, visuo-motor coordination and, to varying extent, working memory and executive functions, and verbal abilities. In developmental neuropsychology, little attention has been paid to comprehend whether and to what extent the above cognitive processes are involved in two main spatial construction tasks, that is drawing and block building.

Method

We used path analysis to test shared and specific effects of verbal and spatial working memory, spatial attention, inhibition, verbal abilities (vocabulary and naming), figure disembedding, mental rotation, and visual-motor coordination, as well as of demographics (sex, age and socio-economic status), on two classical drawing (Rey-Osterrieth Complex Figure; ROCF) and block building (Block design; BD) tasks in a sample of 195 typically developing children (age range: 7-11 years).

Results

Figure disembedding and visuo-motor coordination were the only shared predictors of both spatial construction tasks. Moreover, ROCF score was directly related with spatial attention and inhibition, while BD score was directly related with sex, vocabulary, mental rotation and backward spatial working memory.

Discussion

These findings distinguish between abilities involved in spatial construction regardless of the type of task and those specifically related to ROCF or Block Design, thus providing clues relevant to neuropsychological assessment and intervention in children with spatial construction disorders.

Eye-Tracking Metrics for Figure-Copying Processes in Early- vs. Late-Onset Alzheimer's Disease

Visuospatial dysfunction is a common symptom in patients with Alzheimer's disease (AD). To more focus on copying processes rather than on finally completed figures, we conceptually split the copying processes into three stages: visuoperceptual function, visuoconstructional function, and working memory function. We constructed perceptual and working spaces to investigate the different stages of copying, and then, we compared the number and duration of fixations and saccades and the number of switches across the two spaces. We used eye-tracking glasses to assess eye-tracking metrics in patients with early-onset AD (EOAD), patients with late-onset AD (LOAD), and normal control (NC) participants while they copied the simplified Rey–Osterrieth complex figure test (RCFT). Regarding eye metrics on the perceptual space, the number and duration of fixations were greater in both groups of patients with AD than in the NC participants group (number: EOAD vs. NC: p < 0.001, LOAD vs. NC: p = 0. 003/ duration: EOAD vs. NC: p < 0.001, LOAD vs. NC: p < 0.001). On the working space, the number and duration of fixations were greater in the patients with EOAD than in the patients with LOAD and NC participants (number: EOAD vs. LOAD: p = 0. 007, EOAD vs. NC: p = 0. 001/duration: EOAD vs. LOAD: p = 0. 008, EOAD vs. NC: p = 0. 002). The number of saccades and switching was higher in patients with EOAD than in NC participants (p < 0.001). The eye-tracking metrics from the simplified RCFT correlated with the neuropsychological test scores. Patients with EOAD and LOAD achieved the same level of performance at the simplified and original RCFT scores. However, patients with EOAD than LOAD showed a greater number and duration of fixations on the working space and more frequent switching between the perceptual and working spaces, which may reflect more cognitive efforts to achieve the same level of performance.

The Visuospatial and Sensorimotor Functions of Posterior Parietal Cortex in Drawing Tasks: A Review

Drawing is a comprehensive skill that primarily involves visuospatial processing, eye-hand coordination, and other higher-order cognitive functions. Various drawing tasks are widely used to assess brain function. The neuropsychological basis of drawing is extremely sophisticated. Previous work has addressed the critical role of the posterior parietal cortex (PPC) in drawing, but the specific functions of the PPC in drawing remain unclear. Functional magnetic resonance imaging and electrophysiological studies found that drawing activates the PPC. Lesion-symptom mapping studies have shown an association between PPC injury and drawing deficits in patients with global and focal cerebral pathology. These findings depicted a core framework of the fronto-parietal network in drawing tasks. Here, we review neuroimaging and electrophysiological studies applying drawing paradigms and discuss the specific functions of the PPC in visuospatial and sensorimotor aspects. Ultimately, we proposed a hypothetical model based on the dorsal stream. It demonstrates the organization of a PPC-centered network for drawing and provides systematic insights into drawing for future neuropsychological research.

Influence of visual feedback persistence on visuo-motor skill improvement

Towards the larger goal of understanding factors relevant for improving visuo-motor control, we investigated the role of visual feedback for modulating the effectiveness of a simple hand-eye training protocol. The regimen comprised a series of curve tracing tasks undertaken over a period of one week by neurologically healthy individuals with their non-dominant hands. Our three subject groups differed in the training they experienced: those who received ‘Persistent’ visual-feedback by seeing their hand and trace evolve in real-time superimposed upon the reference patterns, those who received ‘Non-Persistent’ visual-feedback seeing their hand movement but not the emerging trace, and a ‘Control’ group that underwent no training. Improvements in performance were evaluated along two dimensions—accuracy and steadiness, to assess visuo-motor and motor skills, respectively. We found that persistent feedback leads to a significantly greater improvement in accuracy than non-persistent feedback. Steadiness, on the other hand, benefits from training irrespective of the persistence of feedback. Our results not only demonstrate the feasibility of rapid visuo-motor learning in adulthood, but more specifically, the influence of visual veridicality and a critical role for dynamically emergent visual information.

Exploring Co-creative Drawing Workflows

This article presents the outcomes from a mixed-methods study of drawing practitioners (e.g., professional illustrators, fine artists, and art students) that was conducted in Autumn 2018 as a preliminary investigation for the development of a physical human-AI co-creative drawing system. The aim of the study was to discover possible roles that technology could play in observing, modeling, and possibly assisting an artist with their drawing. The study had three components: a paper survey of artists' drawing practises, technology usage and attitudes, video recorded drawing exercises and a follow-up semi-structured interview which included a co-design discussion on how AI might contribute to their drawing workflow. Key themes identified from the interviews were (1) drawing with physical mediums is a traditional and primary way of creation; (2) artists' views on AI varied, where co-creative AI is preferable to didactic AI; and (3) artists have a critical and skeptical view on the automation of creative work with AI. Participants' input provided the basis for the design and technical specifications of a co-creative drawing prototype, for which details are presented in this article. In addition, lessons learned from conducting the user study are presented with a reflection on future studies with drawing practitioners.

Studying global processing in autism and attention-deficit/hyperactivity disorder with gaze movements: The example of a copying task

Recent discussions in the literature, along with the revision of the Diagnostic and Statistical Manual (DSM) (American Psychiatric Association 2013), suggest aetiological commonalities between the highly comorbid Attention-Deficit/Hyperactivity Disorder (ADHD) and Autism Spectrum Disorder (ASD). Addressing this discussion requires studying these disorders together by comparing constructs typical to each of them. In the present study, we investigate global processing, known to be difficult for participants with ASD, and Intra-Subject Variability (ISV), known to be consistently increased in participants with ADHD, in groups, aged 10–13 years, with ADHD (n = 25), ASD without comorbid ADHD (ASD-) (n = 13) and ASD with ADHD (ASD+) (n = 18) in comparison with a typically developing group (n = 22). A Copying task, typically requiring global processing and in this case particularly designed using equally complex stimuli to also measure ISV across trials, was selected. Oculomotor measures in this task proved to be particularly sensitive to group differences. While increased ISV was not observed in the present task in participants with ADHD, both ASD groups looked longer on the figure to be drawn, indicating that global processing takes longer in ASD. However, the ASD+ group fixated on the figure only between drawing movements, whereas the ASD- group did this throughout the drawing process. The present study provides evidence towards ASD and ADHD being separate, not-overlapping, disorders. Since the pure ASD- group was affected more by central coherence problems than the ASD+ group, it may suggest that neuropsychological constructs interact differently in different clinical groups and sub-groups.

Neglect Patients Exhibit Egocentric or Allocentric Neglect for the Same Stimulus Contingent upon Task Demands

Hemispatial Neglect (HN) is a failure to allocate attention to a region of space opposite to where damage has occurred in the brain, usually the left side of space. It is widely documented that there are two types of neglect: egocentric neglect (neglect of information falling on the individual's left side) and allocentric neglect (neglect of the left side of each object, regardless of the position of that object in relation to the individual). We set out to address whether neglect presentation could be modified from egocentric to allocentric through manipulating the task demands whilst keeping the physical stimulus constant by measuring the eye movement behaviour of a single group of neglect patients engaged in two different tasks (copying and tracing). Eye movements and behavioural data demonstrated that patients exhibited symptoms consistent with egocentric neglect in one task (tracing), and allocentric neglect in another task (copying), suggesting that task requirements may influence the nature of the neglect symptoms produced by the same individual. Different task demands may be able to explain differential neglect symptoms in some individuals.

Lesion-symptom mapping of a complex figure copy task: A large-scale PCA study of the BCoS trial

Complex figure copying is a commonly used neuropsychological test. Here we explored the neural basis of the factors underlying complex figure copying (CFC), using data from the Birmingham Cognitive Screen (BCoS) in a large group of sub-acute, ischemic stroke patients (239). We computed two analyses: in the first we assessed the contribution of co-morbid deficits (i.e. in gesture processing, object use, visual neglect, pictures naming and sustained attention) to the lesions associated with CFC. In a second analysis a Principle Component Analysis (PCA) was used to isolate different underlying task components and to link to clinical neuroimaging scans. A voxel-based morphometry (VBM) analysis showed that poor CFC performance was associated with lesions to bi-lateral thalamus, lingual, right fusiform and right inferior parietal cortices (rIPC). The latter association with the posterior parietal cortex was diminished after controlling for neglect. Follow up analysis showed the neglect partially mediated the correlation of CFC and rIPC. The PCA revealed three main underlying components: (1) a component associated with high-level motor control common to different measures of apraxia and linked to the left postcentral gyrus, the right thalamus and middle frontal gyrus; (2) a visuo-motor transformation component unique to the CFC and associated with lesions to the posterior occipital and sensory cortices; (3) a component associated with multistep object use tasks which was correlated with lesions to the left inferior frontal orbital gyrus, the right fusiform and cerebellum. Using clinical symptoms, cognitive profiles and lesion mapping we showed that beyond visual perception, CFC performance is supported by three functional networks: one for high-level motor control, a visuo-motor transformation component, and multistep object use network.

The influence of stimulus format on drawing--a functional imaging study of decision making in portrait drawing

To copy a natural visual image as a line drawing, visual identification and extraction of features in the image must be guided by top-down decisions, and is usually influenced by prior knowledge. In parallel with other behavioral studies testing the relationship between eye and hand movements when drawing, we report here a functional brain imaging study in which we compared drawing of faces and abstract objects: the former can be strongly guided by prior knowledge, the latter less so. To manipulate the difficulty in extracting features to be drawn, each original image was presented in four formats including high contrast line drawings and silhouettes, and as high and low contrast photographic images. We confirmed the detailed eye–hand interaction measures reported in our other behavioral studies by using in-scanner eye-tracking and recording of pen movements with a touch screen. We also show that the brain activation pattern reflects the changes in presentation formats. In particular, by identifying the ventral and lateral occipital areas that were more highly activated during drawing of faces than abstract objects, we found a systematic increase in differential activation for the face-drawing condition, as the presentation format made the decisions more challenging. This study therefore supports theoretical models of how prior knowledge may influence perception in untrained participants, and lead to experience-driven perceptual modulation by trained artists.

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Drawing natural images requires feature identification and extraction.

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Top-down decisions and prior knowledge e.g. of faces guide this process.

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We used fMRI with concurrent eye tracking and measured drawing actions.

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Ventro-lateral occipital areas were more active drawing faces than abstract objects.

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There was also differential activity with more difficult stimulus formats.

Drawing skill is related to the efficiency of encoding object structure

Accurate drawing calls on many skills beyond simple motor coordination. A good internal representation of the target object's structure is necessary to capture its proportion and shape in the drawing. Here, we assess two aspects of the perception of object structure and relate them to participants' drawing accuracy. First, we assessed drawing accuracy by computing the geometrical dissimilarity of their drawing to the target object. We then used two tasks to evaluate the efficiency of encoding object structure. First, to examine the rate of temporal encoding, we varied presentation duration of a possible versus impossible test object in the fovea using two different test sizes (8° and 28°). More skilled participants were faster at encoding an object's structure, but this difference was not affected by image size. A control experiment showed that participants skilled in drawing did not have a general advantage that might have explained their faster processing for object structure. Second, to measure the critical image size for accurate classification in the periphery, we varied image size with possible versus impossible object tests centered at two different eccentricities (3° and 8°). More skilled participants were able to categorise object structure at smaller sizes, and this advantage did not change with eccentricity. A control experiment showed that the result could not be attributed to differences in visual acuity, leaving attentional resolution as a possible explanation. Overall, we conclude that drawing accuracy is related to faster encoding of object structure and better access to crowded details.

The artist's advantage: Better integration of object information across eye movements

Over their careers, figurative artists spend thousands of hours analyzing objects and scene layout. We examined what impact this extensive training has on the ability to encode complex scenes, comparing participants with a wide range of training and drawing skills on a possible versus impossible objects task. We used a gaze-contingent display to control the amount of information the participants could sample on each fixation either from central or peripheral visual field. Test objects were displayed and participants reported, as quickly as possible, whether the object was structurally possible or not. Our results show that when viewing the image through a small central window, performance improved with the years of training, and to a lesser extent with the level of skill. This suggests that the extensive training itself confers an advantage for integrating object structure into more robust object descriptions.

Is artists' perception more veridical?

Figurative artists spend years practicing their skills, analyzing objects, and scenes in order to reproduce them accurately. In their drawings, they must depict distant objects as smaller and shadowed surfaces as darker, just as they are at the level of the retinal image. However, this retinal representation is not what we consciously see. Instead, the visual system corrects for distance, changes in ambient illumination and view-point so that our conscious percept of the world remains stable. Does extensive experience modify an artist's visual system so that he or she can access this retinal, veridical image better than a non-artist? We have conducted three experiments testing artists' perceptual abilities and comparing them to those of non-artists. The subjects first attempted to match the size or the luminance of a test stimulus to a standard that could be presented either on a perspective grid (size) or within a cast shadow. They were explicitly instructed to ignore these surrounding contexts and to judge the stimulus as if it were seen in isolation. Finally, in a third task, the subjects searched for an L-shape that either contacted or did not contact an adjacent circle. When in contact, the L-shape appeared as an occluded square behind a circle. This high-level completion camouflaged the L-shape unless subjects could access the raw image. However, in all these tasks, artists were as much affected by visual context as novices. We concluded that artists have no special abilities to access early, non-corrected visual representations and that better accuracy in artists' drawings cannot be attributed to the effects of expertise on early visual processes.

Inducing closing-in phenomenon in healthy young adults: the effect of dual task and stimulus complexity on drawing performance

Closing-in (CI) is the tendency to act very close to the model in tasks such as drawing, 3D construction, gesture imitation, or writing. Closing-in is observed in degenerative and focal brain diseases, but also in normally developing children. In the present paper, three experiments were conducted to evaluate whether CI can be triggered during a copying task in normal young adults by increasing stimulus complexity and attentional load. Participants were required to copy complex lines in one of three conditions: without interfering activities (baseline), during counting, or during execution of a 2-back short-term memory task. In Experiment 1, participants were required to reproduce horizontally aligned stimuli, starting from a dot placed below each stimulus and proceeding from left to right; in Experiment 2, stimuli were again horizontally aligned, but the starting dot was placed above each stimulus, and writing proceeded from right to left; in Experiment 3, stimuli were aligned vertically and copying proceeded in upward direction. Results from all experiments showed that when normal young adults are engaged in an attentional-demanding concurrent activity, they tend to approach to the model, whereas the effect of stimulus complexity disappeared with unusual writing direction (Experiments 2 and 3). These findings demonstrate that even in normal young adults, a reduction in available attentional resources can release an attraction toward the model.

Segmentation and accuracy in copying and drawing: experts and beginners

As part of an ongoing investigation into real-world copying and drawing, I recorded the eye-hand drawing strategies of 16 subjects with drawing experiences ranging from expert to novice while they copied a line drawing of a standing nude. The experts produced accurate copies whereas all the beginners produced marked inaccuracies of overall scaling, proportion and shape. Analysis of eye and hand movements showed that the experts alone segmented the original drawing into simple line sections that were copied one at a time using a direct eye-hand strategy not requiring intermediary encoding to visual memory. The results suggest that segmentation into simple lines defines the task-specific process of accurate copying, and that this process is restricted to experts, i.e. acquired through training and practice. Additional preliminary tests also suggest that a similar process may apply to drawing a model from life.

Drawing cartoon faces--a functional imaging study of the cognitive neuroscience of drawing

We report a functional imaging study of drawing cartoon faces. Normal, untrained participants were scanned while viewing simple black and white cartoon line drawings of human faces, retaining them for a short memory interval, and then drawing them without vision of their hand or the paper. Specific encoding and retention of information about the faces were tested for by contrasting these two stages (with display of cartoon faces) against the exploration and retention of random dot stimuli. Drawing was contrasted between conditions in which only memory of a previously viewed face was available versus a condition in which both memory and simultaneous viewing of the cartoon were possible, and versus drawing of a new, previously unseen, face. We show that the encoding of cartoon faces powerfully activates the face-sensitive areas of the lateral occipital cortex and the fusiform gyrus, but there is no significant activation in these areas during the retention interval. Activity in both areas was also high when drawing the displayed cartoons. Drawing from memory activates areas in posterior parietal cortex and frontal areas. This activity is consistent with the encoding and retention of the spatial information about the face to be drawn as a visuo-motor action plan, either representing a series of targets for ocular fixation or as spatial targets for the drawing action.