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Children of ages 5 to 17 years were given a real scene to draw from a fixed viewpoint. Their drawings were classified according to the type of drawing system used, and given a score for the number of correct representations of occlusion by overlap. Six classes of drawing system used were identified, and it was found that with increasing age children were able to use an increasingly complex type of system. This development appeared to take place in discrete stages and covered the whole age range tested. Increase in the ability to use overlap as a pictorial device appeared to be continuous; below the age of 9 few children made use of overlap, and rapid learning took place between the ages of 10 and 12. It is argued that the use of these two pictorial devices requires different abilities; and that learning to use a particular type of drawing system does not depend directly on perception or on learning culturally determined stereotypes but in its demands on creative ability closely resembles the acquisition of language.
A definition of pictorial style in terms of distinctive combinations of pictorial devices characteristic of a particular culture or period or the work of an individual artist is proposed. Four kinds of pictorial structure are described: the drawing (spatial) systems, the denotation systems, the mark systems and the attributes systems. Three pictures by Poussin, Rembrandt and the Achilles painter are then analyzed in terms of these four systems. It is suggested that descriptions of style of this kind can be thought of as hypotheses about the nature of the implicit rules that generated the pictures to which they were applied. Examples of ways of testing this suggestion by embodying such stylistic rules in computer graphics programs are given.Axiomathes (2005) 15:319-351 Ó Springer 2005
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