The Role of Graphic Orientations in Children's Drawings of Familiar and Novel Objects at Rest and in Motion.

Abstract

Recently it has been argued that each medium of communication contains unique characteristics that convey specific information (e.g., Gardner, Wolf, & Smith, 1975; Gombrich, 1972; Ives & Wilder, 1979; Olson, 1974; Salomon, 1972; Rovet, Note 1). For example, psycholinguistic researchers have documented many characteristics of and how it shapes communication (Olson, 1977), and the effects of the film codes on cognition have been studied (Sal omon, 1974). In drawing, which is a flat and static medium, differ ent communication devices are called into operation. Thus a study of children's drawings might reveal ways that the demand char acteristics of one symbolic medium influence the development of communicative abilities (Ives & Gardner, 1979). In this paper we shall explore one of these possible devices, the use of ob ject orientations, to further articulate the characteristics of the graphic language (Goodnow & Friedman, 1972). Arnheim (1974) has suggested that orientations play a funda mental role in drawing. Moreover, the existence of canonical or stan dard forms of mental representation has been reported in a variety of experimental tasks (e.g., Rosch, 1975). To date, however, most

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