Tchalenko John, Chris Miall R
Camberwell College of Arts, University of the Arts London, UK.
Cortex. 2009 Mar;45(3):368-76. doi: 10.1016/j.cortex.2007.12.012. Epub 2008 Jun 14.
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.
我们记录了10名初学艺术的学生在临摹复杂线条时的眼球运动和眼手互动情况，这些线条代表了侧面的漫画头像轮廓。我们测试了四种模拟现实绘画情境的临摹条件：原画作和临摹作品并排摆放的直接临摹；受试者看不到绘画手和临摹作品的直接盲临摹；先记忆原画作然后在开始临摹前将其隐藏的记忆临摹；以及在隐藏原画作并凭记忆作画之前对其进行面部识别编码的非特定记忆临摹。我们观察到四种截然不同的眼手互动策略，这些策略为眼睛在临摹过程中的双重作用提供了证据：获取视觉信息以激活视觉运动转换，并在纸上引导手部动作。直接临摹策略最好根据绘画假设来理解，该假设认为形状仅是视觉运动映射的结果，因此，在看不到绘画手或纸张的情况下也能准确绘制。我们提出了一种双即时机制，即眼睛在绘画动作持续进行的恰当时刻，交替参考原画作获取形状信息，并参考临摹作品获取空间位置信息。
