The current study analyzed figure size modification in different types of spatial context (C. Lange-Küttner, 1997, Lange-Küttner, 2004) for sequence and practice effects. Children of 7, 9, and 11 years of age, as well as 17-year-olds, drew figures in a series of ready-made spatial axes systems, which (a) logically increased in dimensional complexity as in child development, (b) were randomized in sequence, or (c) were absent, as a control condition for figure size reduction through practice. Already 7-year-olds could subtly adapt figure size in the logical sequence, but the amount of size reduction stayed within the same size range as in the other two conditions. Only at 9 years of age did children show sensitivity to spatial constraints, with smaller figures in both the logical and random sequence than in the control condition. At 11 years of age, the spatial scale of figure size was maximized, particularly so in children who could change perspective and construct a bird's-eye view, whereas this effect was attenuated in the 17-year-olds. Implications of the results for domain-specific conceptual development are discussed.

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We investigated the emergence of visually realistic contour in the human figure drawing. Young children initially draw geometric and regular parts, which they combine in an additive fashion. Thus, their human figures look artificial. In one longitudinal study covering ages 6‐10 years, and two cross‐sectional studies covering ages 5‐11 years, we examined when children draw visually realistic looking shapes, which are integrated into a figure silhouette. Both aspects, drawing of parts with a visually realistic contour and integration into a whole, gradually increased but took several years to unfold. In the most prescriptive task of Study 3, analyses of growth curves indicated that mastery of drawing contour may require either of two kinds of cognitive investment: first, gradually increasing attention to perceptual detail, and/or second, more conceptual processing when attending to the spatial layout of the whole figure silhouette.

The current study tested gender differences in the developmental transition from drawing cubes in two- versus three dimensions (3D), and investigated the underlying spatial abilities. Six- to nine-year-old children (N = 97) drew two occluding model cubes and solved several other spatial tasks. Girls more often unfolded the various sides of the cubes into a layout, also called diagrammatic cube drawing (object design detail). In girls, the best predictor for drawing the cubes was Mental Rotation Test (MRT) accuracy. In contrast, boys were more likely to preserve the optical appearance of the cube array. Their drawing in 3D was best predicted by MRT reaction time and the Embedded Figures Test (EFT). This confirmed boys' stronger focus on the contours of an object silhouette (object shape). It is discussed whether the two gender-specific approaches to drawing in three dimensions reflect two sides of the appearance-reality distinction in drawing, that is graphic syntax of object design features versus visual perception of projective space.

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Sex differences in a visually realistic drawing style were examined using the model of a curvy cup as an inanimate object, and the Draw-A-Person test (DAP) as a task involving animate objects, with 7-to 12-year-old children (N = 60; 30 boys). Accurately drawing the internal detail of the cup-indicating interest in a depth feature-was not dependent on age in boys, but only in girls, as 7-year-old boys were already engaging with this cup feature. However, the age effect of the correct omission of an occluded handle-indicating a transition from realism in terms of function (intellectual realism) to one of appearance (visual realism)-was the same for both sexes. The correct omission of the occluded handle was correlated with bilingualism and drawing the internal cup detail in girls, but with drawing the silhouette contour of the cup in boys. Because a figure's silhouette enables object identification from a distance, while perception of detail and language occurs in nearer space, it was concluded that boys and girls may differ in the way they conceptualize depth in pictorial space, rather than in visual realism as such.One of the most well-known distinctions in drawing development is the difference between intellectual realism and visual realism (Freeman,

Bender Gestalt cards of Pascal and Suttel, simplified by the author, and basic graphic patterns used in neuropsychological assessment by Mai and Marquardt were used in a speeded copying task. Children between 4 and 6 years were drawing with a wireless pen on a pressure-sensitive graphic tablet linked to a computer. Hand pressure, velocity of hand movements, drawing time and penlifts were measured by a CS handwriting analyses software package. Planned comparisons were carried out between developmentally earlier emerging graphic forms and patterns that are mastered later in development. It was shown that for 6-yr.-olds pressure was increased which might indicate a generally higher tension when drawing. Specifically, angular forms were copied with more pressure, but needed less drawing time than round forms. Moreover, children needed more time for penlifts to adjust for a starting point that changed from left to right when drawing vertical lines than horizontal ones. Reduced speed of drawing was more important when copying open forms than closed shapes. In denotation of spatial position no differences were found. It is concluded that the analysis of psychophysical measures of drawing gives important clues about the specific problems produced by relatively basic graphic patterns.