Look little, look often: The influence of gaze frequency on drawing accuracy

Towards the most prägnant Gestalt: Leveling and sharpening as contextually dependent adaptive strategies

Gestalt psychologists posited that we always organize our visual input in the best way possible under the given conditions. Both weakening or removing unnecessary details (i.e., leveling) and exaggerating distinctive features (i.e., sharpening) can contribute to achieving a better organization. When is a feature leveled or sharpened, however? We investigated whether the importance of a feature for discrimination among alternatives influences which organizational tendency occurs. Participants were simultaneously presented with four figures composed of simple geometrical shapes, and asked to reconstruct one of these figures in such a way that another participant would be able to recognize it among the alternatives. The four figures differed either qualitatively or only quantitatively (i.e., far or close context). Regarding quantitative differences, two feature dimensions were varied, with one manifesting a wider range of variability across the alternatives than the other. In case of a smaller variability range, the target figure was either at the extreme of the range or had an in-between value. As expected, the results indicated that sharpening occurred more often for the feature with an extreme value, for the feature exhibiting more variability, and for the features of figures presented in the close context, than for the feature with a non-extreme value, exhibiting less variability, or in the far context. In line with Metzger's (1941) definition of prägnant Gestalts, the essence of a Gestalt is context-dependent, and this will influence whether leveling or sharpening of a feature will lead to the best organization in the specific context.

The relationship between shape perception accuracy and drawing ability

Accurate shape perception is critical for object perception, identification, manipulation, and recreation. Humans are capable of making judgements of both objective (physical) and projective (retinal) shape. Objective judgements benefit from a global approach by incorporating context to overcome the effects of viewing angle on an object’s shape, whereas projective judgements benefit from a local approach to filter out contextual information. Realistic drawing skill requires projective judgements of 3D targets to accurately depict 3D shape on a 2D surface, thus benefiting from a local approach. The current study used a shape perception task that comprehensively tests the effects of context on shape perception, in conjunction with a drawing task and several possible measures of local processing bias, to show that the perceptual basis of drawing skill in neurotypical adults is not due to a local processing bias. Perceptual flexibility, the ability to process local or global information as needed, is discussed as a potential mechanism driving both accurate shape judgements and realistic drawing.

Observational drawing in the brain: A longitudinal exploratory fMRI study

Observational drawing involves acquiring a number of basic drawing techniques and concepts. There is limited knowledge on how observational drawing skills are represented by brain responses. Here, we investigate the behavioral and functional changes behind students learning to draw in a longitudinal study on 45 participants by testing art students (n = 26) at the beginning and end of a 16-week observational drawing course compared to a matched group of non-art students (n = 19). Four novel tasks were used that involve making decisions about light sources, tonal value, line variation and linear perspective using task-based 7 T-functional Magnetic Resonance Imaging (fMRI). While exploratory in nature, we expected to find improvement on each task over time and functional changes in the prefrontal cortex and cerebellum for the art students. Art students' performance significantly improved on the light sources, line variation, and linear perspective tasks and functional changes were found for the line variation, linear perspective, and tonal value tasks. Using whole brain analyses diffuse functional changes were discovered including prefrontal cortex areas and cerebellum. Brain areas involved in cognitive processing, including attention, decision making, motor control, top-down control, visual information processing, and working memory all functionally changed with experience. These findings demonstrate some of the first functional changes in the brain due to training in the arts and have implications for pedagogy and mental health.

Spintronic Sensors Based on Magnetic Tunnel Junctions for Wireless Eye Movement Gesture Control

The tracking of eye gesture movements using wearable technologies can undoubtedly improve quality of life for people with mobility and physical impairments by using spintronic sensors based on the tunnel magnetoresistance (TMR) effect in a human-machine interface. Our design involves integrating three TMR sensors on an eyeglass frame for detecting relative movement between the sensor and tiny magnets embedded in an in-house fabricated contact lens. Using TMR sensors with the sensitivity of 11 mV/V/Oe and ten <1 mm³ embedded magnets within a lens, an eye gesture system was implemented with a sampling frequency of up to 28 Hz. Three discrete eye movements were successfully classified when a participant looked up, right or left using a threshold-based classifier. Moreover, our proof-of-concept real-time interaction system was tested on 13 participants, who played a simplified Tetris game using their eye movements. Our results show that all participants were successful in completing the game with an average accuracy of 90.8%.

The Perceived Size and Shape of Objects in Peripheral Vision

Little is known about how we perceive the size and shape of objects in far peripheral vision. Observations made during an artistic study of visual space suggest that objects appear smaller and compressed in the periphery compared with central vision. To test this, we conducted three experiments. In Experiment 1, we asked participants to draw how a set of peripheral discs appeared when viewed peripherally without time or eye movement constraints. In Experiment 2, we used the method of constant stimuli to measure when a briefly presented peripheral stimulus appeared bigger or smaller compared with a central fixated one. In Experiment 3, we measured how accurate participants were in discriminating shapes presented briefly in the periphery. In Experiment 1, the peripheral discs were reported as appearing significantly smaller than the central disc, and as having an elliptical or polygonal contour. In Experiment 2, participants judged the size of peripheral discs as being significantly smaller when compared with the central disc across most of the peripheral field, and in Experiment 3, participants were quite accurate in reporting the shape of the peripheral object, except in the far periphery. Our results show that objects in the visual periphery are perceived as diminished in size when presented for long and brief exposures, suggesting diminution is an intrinsic feature of the structure of the visual space. Shape distortions, however, are reported only with longer exposures.

The genesis of errors in drawing

The difficulty adults find in drawing objects or scenes from real life is puzzling, assuming that there are few gross individual differences in the phenomenology of visual scenes and in fine motor control in the neurologically healthy population. A review of research concerning the perceptual, motoric and memorial correlates of drawing ability was conducted in order to understand why most adults err when trying to produce faithful representations of objects and scenes. The findings reveal that accurate perception of the subject and of the drawing is at the heart of drawing proficiency, although not to the extent that drawing skill elicits fundamental changes in visual perception. Instead, the decisive role of representational decisions reveals the importance of appropriate segmentation of the visual scene and of the influence of pictorial schemas. This leads to the conclusion that domain-specific, flexible, top-down control of visual attention plays a critical role in development of skill in visual art and may also be a window into creative thinking.

Observational drawing biases are predicted by biases in perception: Empirical support of the misperception hypothesis of drawing accuracy with respect to two angle illusions

We tested the misperception hypothesis of drawing errors, which states that drawing accuracy is strongly influenced by the perceptual encoding of a to-be-drawn stimulus. We used a highly controlled experimental paradigm in which nonartist participants made perceptual judgements and drawings of angles under identical stimulus exposure conditions. Experiment 1 examined the isosceles/scalene triangle angle illusion; congruent patterns of bias in the perception and drawing tasks were found for 40 and 60° angles, but not for 20 or 80° angles, providing mixed support for the misperception hypothesis. Experiment 2 examined shape constancy effects with respect to reproductions of single acute or obtuse angles; congruent patterns of bias in the perception and drawing tasks were found across a range of angles from 29 to 151°, providing strong support for the misperception hypothesis. In both experiments, perceptual and drawing biases were positively correlated. These results are largely consistent with the misperception hypothesis, suggesting that inaccurate perceptual encoding of angles is an important reason that nonartists err in drawing angles from observation.

Perception of shape and space across rigid transformations

Objects in our environment are subject to manifold transformations, either of the physical objects themselves or of the object images on the retina. Despite drastic effects on the objects' physical appearances, we are often able to identify stable objects across transformations and have strong subjective impressions of the transformations themselves. This suggests the brain is equipped with sophisticated mechanisms for inferring both object constancy, and objects' causal history. We employed a dot-matching task to study in geometrical detail the effects of rigid transformations on representations of shape and space. We presented an untransformed 'base shape' on the left side of the screen and its transformed counterpart on the right (rotated, scaled, or both). On each trial, a dot was superimposed at a given location on the contour (Experiment 1) or within and around the shape (Experiment 2). The participant's task was to place a dot at the corresponding location on the right side of the screen. By analyzing correspondence between responses and physical transformations, we tested for object constancy, causal history, and transformation of space. We find that shape representations are remarkably robust against rotation and scaling. Performance is modulated by the type and amount of transformation, as well as by contour saliency. We also find that the representation of space within and around a shape is transformed in line with the shape transformation, as if shape features establish an object-centered reference frame. These findings suggest robust mechanisms for the inference of shape, space and correspondence across transformations.

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.

Looking around houses: attention to a model when drawing complex shapes in Williams syndrome and typical development

Drawings by individuals with Williams syndrome (WS) typically lack cohesion. The popular hypothesis is that this is a result of excessive focus on local-level detail at the expense of global configuration. In this study, we explored a novel hypothesis that inadequate attention might underpin drawing in WS. WS and typically developing (TD) non-verbal ability matched groups copied and traced a house figure comprised of geometric shapes. The house was presented on a computer screen for 5-s periods and participants pressed a key to re-view the model. Frequency of key-presses indexed the looks to the model. The order that elements were replicated was recorded to assess hierarchisation of elements. If a lack of attention to the model explained poor drawing performance, we expected participants with WS to look less frequently to the model than TD children when copying. If a local-processing preference underpins drawing in WS, more local than global elements would be produced. Results supported the first, but not second hypothesis. The WS group looked to the model infrequently, but global, not local, parts were drawn first, scaffolding local-level details. Both groups adopted a similar order of drawing and tracing of parts, suggesting typical, although delayed strategy-use in the WS group. Additionally both groups drew larger elements of the model before smaller elements, suggested a size-bias when drawing.

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.

Local processing enhancements associated with superior observational drawing are due to enhanced perceptual functioning, not weak central coherence

Individuals with drawing talent have previously been shown to exhibit enhanced local visual processing ability. The aim of the current study was to assess whether local processing biases associated with drawing ability result from a reduced ability to cohere local stimuli into global forms, or an increased ability to disregard global aspects of an image. Local and global visual processing ability was assessed in art students and controls using the Group Embedded Figures Task, Navon shape stimuli, the Block Design Task and the Autism Spectrum Quotient, whilst controlling for nonverbal IQ and artistic ability. Local processing biases associated with drawing appear to arise from an enhancement of local processing alongside successful filtering of global information, rather than a reduction in global processing. The relationship between local processing and drawing ability is independent of individual differences in nonverbal IQ and artistic ability. These findings have implications for bottom-up and attentional theories of observational drawing, as well as explanations of special skills in autism.

Exploratory study of the relations between spatial ability and drawing from memory

Test scores of 119 students, attending either a public four-year college or a technical school, were related to their proportionality and detail drawing scores on the Memory for Designs Test. In regression models, the ETS Maze Tracing, Eliot-Price Mental Rotations, and Bender-Gestalt tests were consistent predictors of proportionality scores, with the latter two tests uniquely related to these. The ETS Shapes Memory Test and the Form Board Test were the strongest predictors for detail accuracy scores. The Shapes test predicted proportionality when the CTY Visual Memory Test BB was excluded. The models then provided support for the hypothesis that drawing designs from memory, a critical skill in drawing, regardless of whether one focuses on accuracy for proportionality scores or for detail scores, is jointly related to the measures of recognition, production, and traditional spatial ability measures. This study identified multifaceted skills in drawing from memory.

Do artists see their retinas?

Our perception starts with the image that falls on our retina and on this retinal image, distant objects are small and shadowed surfaces are dark. But this is not what we see. Visual constancies correct for distance so that, for example, a person approaching us does not appear to become a larger person. Interestingly, an artist, when rendering a scene realistically, must undo all these corrections, making distant objects again small. To determine whether years of art training and practice have conferred any specialized visual expertise, we compared the perceptual abilities of artists to those of non-artists in three tasks. We first asked them to adjust either the size or the brightness of a target to match it to a standard that was presented on a perspective grid or within a cast shadow. We instructed them to ignore the context, judging size, for example, by imagining the separation between their fingers if they were to pick up the test object from the display screen. In the third task, we tested the speed with which artists access visual representations. Subjects searched for an L-shape in contact with a circle; the target was an L-shape, but because of visual completion, it appeared to be a square occluded behind a circle, camouflaging the L-shape that is explicit on the retinal image. Surprisingly, artists were as affected by context as non-artists in all three tests. Moreover, artists took, on average, significantly more time to make their judgments, implying that they were doing their best to demonstrate the special skills that we, and they, believed they had acquired. Our data therefore support the proposal from Gombrich that artists do not have special perceptual expertise to undo the effects of constancies. Instead, once the context is present in their drawing, they need only compare the drawing to the scene to match the effect of constancies in both.

Visuomotor characterization of eye movements in a drawing task

Understanding visuomotor coordination requires the study of tasks that engage mechanisms for the integration of visual and motor information; in this paper we choose a paradigmatic yet little studied example of such a task, namely realistic drawing. On the one hand, our data indicate that the motor task has little influence on which regions of the image are overall most likely to be fixated: salient features are fixated most often. Viceversa, the effect of motor constraints is revealed in the temporal aspect of the scanpaths: (1) subjects direct their gaze to an object mostly when they are acting upon (drawing) it; and (2) in support of graphically continuous hand movements, scanpaths resemble edge-following patterns along image contours. For a better understanding of such properties, a computational model is proposed in the form of a novel kind of Dynamic Bayesian Network, and simulation results are compared with human eye-hand data.

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.

Eye-hand strategies in copying complex lines

Eye movements and eye–hand interactions have been recorded for 10 beginner art students copying complex lines representing outlines of caricature heads seen in profile. Four copying conditions mimicking real-world drawing situations were tested: Direct copying where the original and copy were placed side by side, Direct Blind copying where the subject could not see the drawing hand and copy, Memory copying where the original was first memorized for drawing and subsequently hidden before drawing commenced, and Non-specific Memory copying where the original was encoded for facial recognition before being hidden and drawn from memory. We observed four very different eye–hand interaction strategies which provide evidence for the eye's dual role in the copying process: acquiring visual information in order to activate the visuomotor transformation and guiding the hand on the paper. The Direct copying strategies were best understood in terms of a Drawing Hypothesis stating that shape is the result of visuomotor mapping alone and, consequently, can be accurately drawn without vision of the drawing hand or paper. A double just-in-time mechanism is proposed whereby the eye refers alternatively to the original for shape and to the copy for spatial position just in time for the drawing action to proceed continuously.