SSSR OCH KCL DC CHET EO ed wewae J@uue we eeus DRAW A PERSON TEST Karen Machover 1 HISTORY ‘was Goodenough (1926) Draw- Sas reflected in the quality of the Jicates the child's level of The first formal development of a projecti ‘A-Man Test. She used it solely to estimate a chil drawing. She assumed that the accuracy and num intellectual maturity. Points were given for the incl Ent body parts, quality of lines, and connections. Although it has been used for the children has been found to be the most accurate for ages 3-0 to 10-0. In 1983, Harris (1963) revised the Draw-A-Man by adding two new forms, a more detailed according system, and 4 much wider standardization. He suggests not only “administering the draw-a-man portion, but also Included drawings of the woman and a drawing of the self. The new extended point system included 73 scoring items for the drawings of the man, (compared with Goodenough’s 51), 72 items for the drawing of the woman, and 12 point quality scale, with 2 representing the lowest quality and the 12 the highest for the drawing. No scoring system was Provided for the drawing. No scoring system was provided for the drawing of the self. The test was standardized on 2, 975 boys and girls form ages 5 to 15 with 75 children in each age group. To date the Goodenough ~ Harris version has been the most psychometrically sound for of interpreting projective drawings. Machover’s (1949) Draw-A-Person (DAP) expanded projective drawings beyond the area of cognitive assessment and into the interpretation of personality. She developed a number of hypothesis based on clinical observation and intuitive judgment. For example, she speculated that the size of the drawing relates to the level of self-esteem and that placement of the drawings reflects the subject's mood and social orientation. During the administration phase, client are given a blank sheet of paper and simply told to “draw a picture of a person”. When they have completed the first drawing, they have given a new sheet of paper and requested to “draw a person of the opposite sex”. An inquiry phase is often recommended which a subject answers specific questions about the person in the drawing ~ such as what their mood is, their interest, or what makes them angry. Koppiz (1968, 1984) extended the developmental and personality aspects of human figure drawings by creating objective scoring system for developmental level and emotional indicators. Currently, the most frequent used version of projective drawings is the Draw-A-Person (DAP) as originally developed by Machover(1949) but greatly expanded by Hammer(1958), Hadler (1985), and Urban(1963), and Koppiz(1968,1984). Within clinical settings, formal quantitative scoring system for depression, impulsiveness, or maturation development is rarely used. Clinicians are far more likely to luse intuitive judgments based on clinical experience and assumed an isomorphy between the characteristics of the drawing and the client’s outside environment. However few of these interpretations are based on valid research. Given the lack of unified administration, scoring, or interpretation as well as complexity, diversity, and richness of the drawing themselves, itis unlikely that this intuitive approach will change significantly in the near future. Ul, PURPOSE OF THE TEST This test, DAP, assesses personality disturbances in the individual in psychotherapy, school, and research settings. This test may be used with the culturally disadvantaged, educationally deprived, mentally retarded and the aged. ‘It usually presented to children, adolescence and adults. No time limit is given to this test and the scoring is hand key and examiner and examiner evaluated. The examiner is the one that provides the materials needed in this exam, like a blank sheet and a soft pencil, the paper should be placed in a flat desk surface and sufficient illumination. And on this test, ‘the examiner must assume the subject's usual state or relaxation so that any physical tension may assume to be endogenous. I, ADMINISTRATION Regardless of the different variations in administration, the instructions are kept in a minimum. This helps to maintain the ambiguity of the situation, thereby increasing the likelihood that significantaspects of personality will be projected into the drawings. Clients should be seated in 2 comfortable position, with a sufficient room to freely move their arms while drawing. They are provided with 2 single sheet of paper measure 8 x 11 and, if an achromatic drawing is desired give the client #2 pencil with eraser. if chromatic drawing desired give the client a set of crayons, colored pencils, or dfferent- colored felt-tip pens. If the DAP is given, they would simply be told to draw a person. Once the first drawing is completed, subject is given another 8 x 11 Inch, unlined paper and requested to “draw 2 person of the opposite sex’. If the self version is also administered, they would be requested to “draw me a picture of yourself”, Some administration suggest no other instruction be given, whereas others recommend that the person also be told to take his or her time and do as good a job as possible. Sometimes, clients complain'that they are poor artist. This might be countered with the observation that most people abilty stops when they are about 10 years old of age so that most of People are not particularly good artist. Furthermore it might be stressed that this is not a test of an antstic ability but that they should still do the best they can. Occasionally, clients will request specific Buidelines, such how big to make the person, what sex it they think should be, or what the person should be doing. The examiner should simply state that it is up to them. If they draw a stick figure, they should be given a new sheet of paper and requested them to draw a more complete person. Some examiners recommend that subjects draw only the half or quarter of the person, they should also be given a new sheet of paper and be requested to draw a complete person. One option is to include an inquiry phase, in which the client might be requested to tell 2 story about the person in the drawing. This story can then e used to aid future interpretation. More specific questions might be asked, such as having subjects indicate what makes him or her happy or sad, or what his or her interests are. If only the DAP is administered, might only select and ask the questions relevant to the person drawing(s). Some might want clients to associate to and interpret the significance of their drawings. The clients themselves are thereby being used as consultants to help with the interpretations. This latter procedure is likely to be most successful for clients with a good level of insight and who are fairly appreciative of unconscious processes. During the administration, the examiner should note any relevant behaviors. These may include client's level of confidence or hesitancy, whether the procedure increases their anxiety, their degree of playfulness, impulsiveness, conscientiousness, or the presence of excessive erasures. The ‘most appropriate variation in administration will depend on the purpose of the assessment as well as personal preference of the clinician. In general, the most research and therefore the most strategies available for interpretation can be found with human-figure drawings. ADVANTAGES 1. The DAP isa simple, easy task for most patients. Children, especially young children, like it and will usually cooperate quite readily. They are often more fluent graphically than they are verbally 2. Children with certain internalized disorders (e.g., depression and anxiety disorders) often do rot demonstrate these problems in thelr overt behavior. Most children, especially younger cones, lack the ability to use language that labels or describes these emotions. The DAP (and other similar drawing procedures) offer a window into their experienced subjective discomfort. 43, The DAP is quick and easy to administer; itis typically completed within 5 to 10 minutes, and it requires few materials. ‘4. The DAP is one of the few graphic tests in the assessment battery. Therefore, it offers expression in a modality that 1s a novel, and one that also may offer clues concerning conceptual and motor development. 5, The DAP is the only test in the battery that has no external stimulus or structure. There are no designs to copy and no vague forms from which to produce associations. Therefore, the clinician has the opportunity to observe the patient's functioning on a relatively unstructured task; the structure must come completely from within, The patient's functioning under these task conditions should be compared with functioning on more structured tests in order to determine the degree to which he or she needs external structure in order to function, and to determine the qualitative and quantitative effects of functioning when external structure is “absent. For example, a poorly integrated drawing that shows a great deal of distortion in the ‘sexual areas might indicate that the ego disturbance Is focused around sexual conflict. OORHRROCHR COLOR EORO82HOOHEOAa IS seseoeo (66 wo y Ged deeee fr ‘ ge SeeeCuewusve a 10. a. 12, 2B. The DAP often yields a great deal of information concerning self-concept, 2s well as information concerning personality style, orientation, and conflict areas. The DAP has a few age and intelligence limitations. it can be used with very young children (sometimes as early as age 3), and it generates valuable data even when the patient is of limited intelligence. ‘The DAP is often welcomed by inhibited and non-talkative patients. It is test (the only verbal material is contained in the thematic associations to therefore itis useful when language is @ problem. ‘The DAP is a useful test with patients who are evasive and/or guar barcen verbal records in test where they are able to exercise more expression. But in the DAP, these patients express themselves in a more revealing manner Concrete, primitive personalities often produce richer DAP records, compared with thei Rorschach records, whereas verbal, ften produce richer Rorschach and TAT records compared with their DAP protocols. Since the DAP is quick and easy to administer, it lends itself well as an instrument to measure change in psychotherapy. ‘The DAP is often and excellent springboard for discussion of specific conflict areas. Here, the patient may be asked to associate to the drawing just completed. Repeated administration Allows the clinician to see changes that have taken place, and to identify problem areas that still need attention. ‘The DAP is more sensitive to psychopathology compared with oth found that the DAP was the first test in the battery to show incipient psychopathology. Thus, it is good prognostic indictor. However, Zucker also found that the DAP was the last test to shoe improvement. ‘A number of clinicians have begun to utilized the DAP as a measure of progress and outcome in therapy for sexual disorder (Hartman & Fithian, 1972; Sarrel & Sarrel, 1979). Sarre, Sarrel and Berman (1981), in 2 remarkable paper, describe the major ways in which the DAP is useful in sex therapy: assessing the individual (including psychopathology, body image, sexual Orientation and/or gender identity, sexual response and behavior, orgonic disease, motivation, and personality style); assessing interpersonal issues and assessing change during the course of ‘Sex therapy. Concerning the use of the DAP in Interpersonal issues; clinicians use the drawing ot determine feelings about the opposite sex and feelings specific to the couple's relationship, and to assess changes in the couple's relationship during the course of sex therapy. The DAP is also used to assess such differences as global body image problems, body penetration anxiety, body boundaty problems, and anxiety about the genitals or other parts of the body. latively nonverbal the drawings) and ;ded. These patients give control over their verbal er projective tests. ZuckerDRAW A PERSON TEST A, INTERPRETATION OF STRUCTURE AND CONTENT size The size ofthe drawing tells about the patients self-esteem and the manner in which the patient deals with self-esteem. Any extreme indicates psychopathology Tiny Figure: shrunken ego; feels inadequate; directly indicating inadequacy feelings and perhaps responding them by withdrawal Fill the Entire Page: may react with self-expansiveness and self-aggrandizement in order to cover up similar inadequacy feelings Unusually Large Drawings: can be a sign of aggressive and acting-out tendencies; + expansive, euphoric, or grandiose tendencies; ‘+ hyperactive, emotional, manic conditions; or anxlety/confict ‘Unusually Small Drawings: indicate feelings of inferiority; * inadequacy and low self-esteem; anxiety; * withdrawal tendencies in inhibited, restrained, timid, shy, or constricted adults and children; * depressive tendencies; © regressive, dependent tendencies; «constriction under stress Overruns Page: lacks planning ability; tends to be manic, overactive ve PENCIL PRESSURE Pencil Pressure has been described as an indication of patient's energy level Heavy Pressure: indicate high energy level; indicate extreme tension or anxiety; © an approach to life whichis assertive and forceful (ambition); aggressive tendencies; ‘+ anxiety and constrictive behavior, particularly under stress; and ‘© possible paranoid conditions Light Pressure: indicate low energy level; restraint; repression Unusually Light Pressure: ‘+ indicate a hesitant, indecisive, timid, fearful, inhibited, and insecure personality pattern; ‘+ aneurotic condition, most often with anxiety symptoms; * depressive conditions, or ‘© anexpansive adaptation under external stress situations Pressure variations: adaptability; flexibility Varied pressure: emotionally unstable; moody Pressured lines: aggressive; assertive Uneven pressured lines: anxiety; Insecurity Tiny Figure, light pressure: constriction; feeling of insignificance and lack of worth Figure micrographic with detall shading, erasures, pressure variations: deep repression; neurotic depression -meannned aerevenneeeosrt @0e202020080800888848ASw eoovoe eee CeO ee KCC KHC HO EKLE eovevous aévveve STROKE AND LINE QUALITY tong Pencil Stroke: indicate controlled behavior, perhaps even inhibition in the extreme Short Strokes: indicate impulsive behavior and excitation Horizontal Movement Emphasis: may suggest fearfulness or self-protective tendencies Curved Line Emphasi Suggest flexibility Straight Line Emphasis: may indicate assertiveness or rigidity Une Quality that is Discontinues (e.g. many breaks in the outside boundary of the figures): indicate anxiety and/or conflict, but in the extreme it suggest that the anxiety has overwhelmed the patient Drawings in which the Outline of the Figure seems to be so Discontinues that it appears as a Series of Disconnected Dashes: often found in severely disturbed (psychotic) patients who have problems wit reality contact and who are overwhelmed by confused bizarte thoughts Straight, Uninterrupted Strokes: associated with personality style that emphasizes a quick, decisive and assertive approach to life DeTans Lack of Details, ‘+ indicates withdrawal tendencies with an associated reduction of eneray ‘+ atypical reaction to stress experienced as external to the patient ‘+ or a depression that is often associated with withdrawal tendencies and lack of energy to complete the figure often seen in obsessive-compulsive patients * some patients, under external stress conditions, deal with the stress by becoming increasingly obsessive PLACEMENT ‘Machover believes that a person draws, he draws somebody whom he knows very much, and such person is himself. The paper in which this person draws is symbolic of his environment. ‘Middle of the pag pical of most normal subjects Right Side of the Page: indicate stability and controlled behavior, willingness to delay satisfaction of needs and drives ‘+ preference of intellectual satisfactions compared to emotional ones, tendency to intellectualize + introversive tendencies + orientation to the future ‘+ negativism and rebellious tendencies Left Side of the Page: indicate impulsive acting-out behavior a tendency toward immediate, frank, and emotional satisfaction of motives cextroversion preoccupation with one’s changing needs a self-centered approach to life; orientation and concern with the past possible feelings of uncertainty and apprehension High on the Page: indicate high drive level high level of aspiration+ striving for achievement, or striving to achieve difficult goals + indicate unjustified optimism, or an aloof orientation in a patient who i psychologically or socially inaccessible The higher the drawing is on the page, the greater is the possibility that the patient feels he or she is Striving with great determination; that the goal is relatively unattainable; that the patient is aloof and relatively inaccessible. {7 tow on the Page: indication of insecurity and inadequacy, with resuitant depression ‘an indication that the patient feels reality bound and tends to be concrete, rather than theoretical or abstract + anindication ofa defeatst attitude Upper Left-hand Corner: indicate regressive tendencies feelings of insecurity and hesitancy + _withdrawal + anxiety (except for children in the early elementary grades) Upper Right-hand Corner: a desire to suppress an unpleasant past or excessive optimism about the future (L-—Battom Edge of the Paper: + suggest the need for support associated with feelings of insecurity and low self-assurance + dependency; fear of independent action + anxiety + tendency to avoid new experiences or to remain absorbed in fantasy; or depressive condition ERASURES Erasures are apt to happen in the hands and feet, the shoulders, the arms, the nase, the ears, the crotch, and the hipline. Interpretation depends on the part of the body in which erasures is found. ‘This form of conflict treatment is usually found among neurotics, obsessive-compulsive characters, and psychopaths with neurotic conflicts. Erasures are considered as an expression of anxiety but differ from the line reinforcement and shading in that they show overt dissatisfaction. Machover states that pubertial girls erase profusely. Excessive Erasure: indicate uncertainty © conflict-filled indecisiveness and restlessness + dissatisfaction with self © anxiety/conflict (especially true if the erasure and subsequent reworking does not improve the drawing) ‘+ if the redrawing improves the figure, it is probable that the conflict is being adequately contained and dealt with, and that itis not causing any problem in everyday functions. SHADING ‘Shading is an indicator of anxiety, and the particular area shaded suggests the source of anxiety, Vigorous, aggressive scribbling to cover up something is considered to be a discharge of aggression and expression of concealment. The most frequent kind of shading is done by using light, ddim, and uncertain lines which accents particular parts of the figure. The most frequently shaded parts of the figure are the chest of the male figure, which indicates sensitivity to physical inferiority, and the breast of the female figure done by the lect which contfl ning mot! dependence. Female subject may put few subtle lines in the skirt in the area of the genitals, suggesting “furtive and inhibited sexual concern”, Excessive Shading: Indicates anxlety/conflic or agitated depression If the Shading Is carefully done, and seems to enhance the drawing: probable that the area that is drawn i conflict related, but the conflict is being dealt with appropriately, 2933939399992 802898982808989878 8898098 7 5 PAA E9999 fi yyCER SHSCSCHSOKTHOOEKHHHHHKDHEOKOOHR OHHH HK KKH EHS If the Shading is messy, uneven, or hurriedly done: the conflict is causing anxiety and is disturbing the Person in everyday adjustment Vigorous shading, aggressive scribbling to cover up something * expression of both discharge of aggression and of concealment Shading of sexual area of the Female figure by Male subject: * sexually sadistic male LUght, dim and uncertain line which furtively accent particular part of the body: Chest in the Male figure — sensitive to physical inferiority Breast in the female figure by Male subject ~ conflict involving mother dependence DISTORTIONS AND OMMISSIONS ‘An indication of severe psychopathology and/or lack of sense of self. Gross Distortion: indicates poor reality contact or negative self-concept Moderate Distortions and Omissions: indicate conflict/anxiety TRANSPARENCY a a = indicate poor reality ties, except, in the drawings of young children * suggests poor reality testing; anxiety/conflict; sexual disturbance; or regressive, psychotic conditions ‘VERTICAL IMBALANCE ‘+ the greater the imbalance from the vertical position, the greater the anxiety DIFFERENTIAL TREATMENT OF THE MALE AND FEMALE FIGURI ‘Machover hypothesizes that the individual who is identified with his own sex will draw the self figure first. She states that “some degree of sexual inversion was contained in records of all individuals who draw the opposite sex first.” She also feels that the subjects who scrabble the sexual characteristics of the two figures they draw are suffering from sexual maladjustment. A pair of figures Jn which one is drawn disproportionately larger than the other sug as the stronger, while the smaller figure would suggest that the Figure almost the same: does not recognize the role of sex Female figure drawn bigger than the male figure: recognizes the male Male figure drawn bigger than the female: normal; recognize the male as the more powerful sex _Male figure drawn bigger than the female: n L-Fexor mst own sicune ‘Same-sex Drawing: normal Draw the Opposite-Sex first: frequently indicate homosexuals; © confused sexual identification strong attachment or dependence on person of the opposite sex ambivalence or conflict regarding one’s seital identification poor self-concept greater interest and/or awareness of the opposite sex compared with the same sex EEFEMINATE SIGNS IN THE MALE FIGURE Long eyelashes, soft mouth with large lips, arched eyebrows: indicates femininity or identification with the female role in society* these signs appear in drawings of overt homosexuals, homoerotic daranoids; obsessive: compulsive + at times, in some normal who tend to be sensitive, idealistic, well-educated or aesthetic in interests B. INTERPRETATION CONCERNING BODY PARTS —T—ee—eEeEeeeeeeeee. HEAD It is the important location of the self; essentially, the center for intellectual power; social dominance; and control body impulse. The head is a symbol of intellectual and fantasy activity, of impulse, and of emotional control. The head is also the site of socialization and communication. Unusually Large heat idicate aggressive and expansive tendencies inflated ego, over evaluation of the intellectual, high achievement ‘fantasy as a primary source of satisfaction ‘© regression, inhibition and dependency © possible anxiety * strong intellectual striving; considerable fantasy activity 2s source of satisfaction ‘feelings of intellectual inadequacy with compensatory stress on intellectual achievement ‘+ possible grandiosity and egocentric attitudes based on feelings of inadequacy ‘© paranoia; narcissism; intellectually righteous; vain person; enlarged ego Unusually Small Head: indicate feelings of inadequacy ‘© sexual impotence * a feeling of intellectual inadequacy © weak ego condition ‘© wish to deny the intellectual control which prevents the satisfaction of bedy impulses ‘= obsessive compulsive; expression of the desire to deny the site of painful thoughts and guilt feelings Head Is drawn by an adult-of average or better intelligence in a child-like fashion (e.g. circle rather than oval, witK dots or circles of eyes, ears stuck on like jug handles, and mouth as a single line.): the patient = immature, thatthe patient is regressed, or that he or she Is experiencing a good deal Sram th ‘ “ cy Sex given the xgpotonaey rer head: sex accorded more intellect and social authority Head drawn last: disturbed interpersonal relationship Lollipop head: immaturity Head only or back heads: experiences emotional blunting Head emphasis: depressed and emotionally withdrawn Head emphasis, without eyes, nose and mouth: socially withdrawn Flat head: fear of castration or rejecting Masiclike face: depersonalization Fragmented, looks lke a robot: lack of Control of impulses; denial about guilt Head clearly Indicated, dim line or no body: compensatory fantasy, feeling of anxiety or of inferiority, ‘Ape drawing: like physical power 0969 ORO MM HARA HHAHO MEE HM OT AAFe eA 2008 e f nm~~ . a e . ~~ °° ° . ° ° ° ° s e ® . s * a ° 8 2 2 » ZY ° 2 > 2 ° ° FACIAL FEATURES Omitted: psychosis, evasiveness, superficiality in interpersonal relationships, inadequate environmental interest, or possible withdrawal tendencies Features dim with emphasis on head contour: timidity; withdrawal Overemphasis of Facial Features: * indicate over concer with outward appearances ‘+ feelings of inadequacy and weakness that are compensated for by aggressive and socially dominant behavior Overemphasize the Face and Hair, typically with Large Eyes and Prominent Lashes and Emphasis on Ups and Hair: patients with hysteroid and/or narcissistic traits EVES Considered to be the “windows of the soul” and to reveal the inner feelings; organs or making external contacts; provides sensory data to permit the age to deal with the world and is a cybernetic device for facilitating feedbacks Unusually Large or Strongly Reinforced Eyes: * indicate suspiciousness and other paranoid characteristics * hypersensitivity to social opinion ‘+ socially outgoing tendencies Eyes with Pupils Omitted (Empty Eyes)/Closed Eyes: ‘+ an introversive, self-absorbed tendency in withdrawing persons who are not interested in Perceiving their environment; or who percelve it and themselves only vaguely, ‘a condition seen in neuroses and schizoid personalities which may be due to an inability to cope or a ‘communications difficulty Disproportionately small: desire to shut out world; self-absorption Unseeing: emotional immaturity; egocentricity Looking away from the viewer: possible sign of withdrawal; rejection of environmental problems ‘Small circles for the eyes, nose and mouth: depencency; shallow emotionality; lack of discrimination; evasive from criticism and responsibility Blind, closed, concealed by hat, or hallow socket: © marked reluctance to view world * possible hostility towards others + tendency to avoid unpleasant situations; to exclude unpleasantness Emphasis on pupils and eyelashes: paranoia Elaborate eyes and perhaps draw eyelashes, and will draw well-specified pupil by Male subject: Effeminate male such as homosexuals me Large, accentuated: hostile and penetrating ‘+ glamourized individual indicative of exhibitionistic trends, especially in girls © homosexuals; egotistical hysteric Furtive or suspicious eyes: convey ideas of reference9: paranoids; over alertness to world; suspiciousness of motives and behavior of others; limited breadth of vision but penetrating wariness in paranoid personality One eye big, another small: weakening of personality strength Dot eye: withdrawal tendency Hollow eyes reluctance to interact With eyeglasses: evasion from reality, paranoia Popeyed: sexually excited Cockeyed: confused thinking Large orbit with small eye: strong visual curiosity with guit; posible voyeuristic conflicts Omission of one eye of the male figure (female subject): admittedly associated with sadistic fantasies ‘EYEBROW ‘Trim: social stereotype reflecting refinement and grooming women with glamour aspirations and body narcissism often critical of freely expressing feelings Ralsed: contemptuous, haughty attitude Bushy: primitive, gruff, possibly inhibited NOSE ‘The nose said to be phallic symbol or a symbol of a power motive Large Nose or one that is otherwise emphasized: indicate sexual difficulties, including psychosexual immaturity and/or castration fears, sexual impotency, of aggressive tender «felt inadequate male role with striving fori (adolescent) Omitted: a shy, withdraw, or depressive personality style, or feelings of castration Noses drawn by adults as a Button or a Triangle © suggest immaturity #aregressive response to conflict ‘© anxiety in older children, adolescents or adults Sharply Pointed Nose: suggests acting-out tendencies Broad, flared, hooked: contemptuous attitude tendency to think in derisive social stereotypes shaded, Dim, or Truncated Nose: indicate castration fear; infantile male who projects defects to a female Reinforced nose: direct compensation for Inadequate sexuality Long and thin; psychosexvally infantile; suffers from body weakness in which expresses In a compensatory drive for physical power and aggression Flattened: power striving which have been punished Defects In nose: masturbation guilt >%AA299FH9 898988 HD O8HHHOHDHEEHEHLHHBBHKEL ”ACSDSCSCSCHSHHREHHHHHORSSOHOHHSLHOHOHHEKEH HEE OEE ES" Nostrils emphasized: a specific accent of aggression; primitive aggression Upturned: schizoid; withdrawn MouTH Problems in drawing the mouth the sometimes associated with feeding-eating difficulties, speech disturbances, outbursts of anger, or a dependent approach to life ‘Mouth Emphasis: indicate a possible regressive orientation + oral emphasis in the personality Possible verbal aggressiveness associated with a dependent, immature personality Possible sexual uifficultles + verbal sadism depressive or primitive tendencies Mouth omitted on female subject: possible scolding maternal figure Omitted: possible conflict concerning oral aggressive tendencies; guilt on oral aggression depressive conditions difficulty or reluctance to communicate + rejection of the need for affection ‘+ in children, possible obsessions and anxiety a shy withdrawn, depressed interpersonal style ‘Slash Line Mouth: suggest verbal aggression, anger, hypercriticality, possible sadistic tendencies Single Line, Unsmiling Mout suggest depression Concave and orally receptive mouth: infantile, dependent individuals Tiny Mouth: suggests denial of oral dependent needs Mouth with a Large Grin: suggests either forced congeniality or inappropriate affect; an effort to win approval; tendency to present smiling, acceptable facade to mask less acceptable feelin es Sneeri insecurity contempt for others; aggression, hostility probably because of feelings of weakness and ‘Adult Drawing with Teeth Showing: suggest infantile, aggressive, or sadistic tendencies Tongue Showing: strong oral concentration in the primitive level; adds an erotic note Mouth shut tighth ‘experience ingle mark of tension; also often seen in indlviduals who have had active sexual Mouth open: orality ‘Mouth markedly full open or oval I: dependent; oral-erotic ‘Mouth clown-like: force amiability; Inappropriate affect: ups Full lips in a male figure: Indicate effeminacy and appear with other features reflecting foppish and narcissistic interests. Cupld Bow mouth In Female Figure: exhibitionistically inclined, sexually precocious adolescent females|: indicate oral erotic trends; acute sexval preoccupation Objects drawn in the mouth (e.g. cigarettes) EARS Large Ears: indicate hypersensitivity; suspicious; distrust Emphasized: sensitivity to the outside world; paranoia; sensitive to criticism; feels persecuted Lack of emphasis: refusal to listen to criticism; denial of concern over opinions of others Not balance: personality disintegration; pathological psychosis ‘Omitted: often in drawings by normal subjects Ears put elsewhere: Schizophrenics HAR CO — Overemphasis on hair on the head (and hair emphasis on the chest or face): + indicate virility strivings | + sexual preoccupation compensation for feelings of sexual inadequacy or impotence Possible angry, aggressive, assault tendencies narcissism possible anxiety or conflict, Balding male figure: felt lack of vi ity Hair is absent: feelings of sexual inadequacy: ‘© castration fears ‘+ a possible schizophrenic condition * alow physical vigor Hair emphasis: infantile or regressed sex drives; sensuality or sensual needs; assaultiveness Heavily shaded: excessive sexuality; severe anxiety about sexuality or mental control; anxiety over thinking or fantasy Long and unshaded: ambivalence or hostility over sexuality Messy hair: suggest sexual immorality Disheveled or messed up female hair: in adolescents, indicates impulsivity, often of sewual nature Vigorous shading of hair with poor form delineation: expressions of vrlity conflicts brimming over into some sexual deviant behavior Messy female hair and precise male hair-do: seen in psychosexually infantile males and indicates sexual disorderliness in connection with female and control with male Hair on females, not on males: regression Elaborate halr-do: sociopathic females who enjoys self-display; vanity; homosexual male who enjoys self display © Adolescent girs with glamour aspirations Prim, orderly: in female figure indicates sexual control; possible barreness § PFA PPFOFRF 9D TRARAER OR HOR OHH MMOH OHH O89Peeve DOO KHREOHHHHHHORS SSC KRHOKHHHKEH HEE GEESE! Sparse unpressed hair: inadequate virllty Hair unshaded: depression; drop in libido Hair excitement: relates to arousal of infantile sexual drives “Much attention to hair: narcissism; self-centered; vain; homosexual tendency Hair parted on the middle: feminine identification dealt with binarcissism and obsessive-compulsive mechanism Covered by hair with degree of shadit indicates extent and adequacy of virility; villty striving, Drawing of a hairy woman: suggests the woman is viewed as being sexually passionate Emphasis on wavy, glamorous, cascading hair (usually scen in adolescent girls): sexually delinquent; or entertain aspirations of an amorous act. Hair on jaws: schizoids FACE ‘Strong emphasis: concern about social relationships and outward appearance * compensating for inadequacy, weakness or lack of assertion by drawing an aggressive and socially dominant figure * inner drive for social assertion Dim or omitted: evasive about conflicts invol ‘© withdrawn from social relationships ‘+ self conscious; shy interpersonal relationships ‘Shape: if oval - feminine, sensitive aesthetic; if square — powerful, masculine, power striving, Drawn last: difficulty in social relationships; desires to avoid self-revelation Creased forehead: intellectual aspirations; or stress on emotional control; chronic worrier Extra lines at naso-labial fold: provides depth and maturity to face concern over emotional maturity or appearing mature cHIN Overemphasized Chin: + possible compensation for feelings of weakness # possible feelings of social inadequacy + suggests aggressive/dominance tendencies + possible strong drive levels CChin emphasized on opposite sex: dependency on opposite sex; opposite sex regarded as stronger ‘Weak Chin: indicate feelings of either psychological or physiological impotence Full view, a break in line or heavy reinforcement of the Female figure by the Male Subject: projection of greater power onto the female; dependent male Profile, erased, reinforced, show a change of line or made to jut out prominently: compensation for weakness; Indecision; fear of responsibilty; strong drive to be socially forceful and dominantLight lines: fear of responsibilty; strong drive to be socially forceful and dominant though not externalized in behavior but nurtured in fantasy ‘BEARD/MUSTACHE Symbolizes the need to enhance personal or sexual status, virility strivings, efforts to enhance ‘masculinity, attempts to hide, aggressive tendencies, or compensation for felt adult inadequacy Goatee: virility symbol indicating need to demonstrate masculinity in an unusual way ‘indicate artistic, antisocial or schizoid elements * if heavily shaded, over concern with virility may occur in adolescents, homosexuals, old men and some dull paranoids Beard: a phallic substitute: need to demonstrate virility; status and power symbol Heavily shaded beard: virility strivings and doubts about masculinity NECK The neck is typically regarded as the link between intellectual life (symbolized by the head) and the affect (basic body impulses) symbolized by the body. The neck represents the link between ego control (head and id impulse (body). Ogdon states, “Labile affect, fear of labile affect, concern regarding acting-out tendencies, and the need to separate one’s cognitive activity from one's affect life ‘may be represented in the treatment ofthe neck” ‘Neck Emphasis: indicates concern regarding the need to control threatening impulses ‘Unusually Short, Thick Neck: ‘+ indicate tendencies to be gruff, stubborn, and rigid; impulsivity # a desire to keep impulses from hindering intellect, Unusually Long Neck: ‘+ indicate an attempt to separate intellectual ideas from emotions; mastery over impulses ‘+ acultured, socially stiff, or even formally rigid and overly moral approach to life Exceptionally Long, Thin Neck: indicate schizoid or psychotic problems Omitted: impulsivity is suggested (i te patient is over 10 years of age) With short slashed: suicidal tendencies, ‘Adam's Apple: Expression ofa strong drive for virility or masculinity in the drawings of young males. SHOULDERS Well-drawn and Neatly Rounded Shoulder: normal, indicating adequate, well-balanced control of impulses and behavior Large or Broad Shoulde ‘© Indicates a need for physical power, possible aggressive, acting-out tendencies. © excessive defensiveness ‘© in females, possible sex-role confusion or masculine protest © feelings of extreme concern for power and strength ‘Absence of Shoulders: suggests the presence of a thought disorder Pointed Shoulder: indicate acting-out tendencies. eg Ct / FRAPPT9O MOP 9998E OOS HOSHEHESHHEHKR SKK HOSE HKHKEHKC KH EUS oowe Small/Tiny Shoulder: suggest inferiority feelings; de-emphasis of physical power with compensatory or substitute interests In nude drawings, massive shoulders emphasized at the expense of other parts: sexually ambivalent aS an overt compensation for feelings of body inadequacy Erasure and reinforcement: preoccupation with physical strivings and a drive for body development as an expression of power * drive for boy development as expression of masculinity is a basic preoccupation Massive shoulders on the female figure (female subject): suspected of having some degree of masculine protest ARMS The arms reflect the type and quality of the patient’s contact with the environment and interpersonal relations; a psychological meaning referring primarily to ego-development and social adaptation. Arms Drawn as Relaxed and Flexible: considered normal ‘Arms Drawn Akimbs indicate narcissistic or bossy tendencies ‘Arms behind the Back: + Suggest reluctance to meet people halfway; need to control aggressive ‘* Hostile feelings or behavior; or guilt feelings ‘+ Need to control expression of aggression Reaching into environment: reaching for attention and social; dependency; desire for affection Outstretched arms: needs emotional support when under stress Arms pressed to the side: difficulty in social contact; fear of aggressive impulses Folded Arms: indicate suspicious, hostile attitudes, non-assertive orientation ‘= Unwillingness to interact socially weak, schizoid contact Frail, Thin, Small, or Shrunken Arms: suggest feelings of inadequacy or a general feeling of ineffectiveness Heavily Shaded: sometimes indicates sense of punishment Arms reinforced: assaultiveness Long Arms: ambitious and striving for success; ambition fer accomplishment or acq + Demand for love and attention ‘Overly Long: ambitious in compensation for feelings of inadequacy Long, Strong Arms: indicate acquisitive and compensatory ambition ‘Need for achievement or physical strength «Active, aggressive contact with the environment ‘* Need for autonomy (Children subject) Short Arms: indicate a lack of ambition; passivity; feelings of inadequacy «Possible castration fears © Feeling weak and giving in to lifeBicep Emphasis: physical strivings may occur in male figures drawn by “masculine protest"; female homosexuals + Aggressive; energetic (Male subject) Broader at hand that at shoulder: indicates lack of self-control and/or tendencies to be impulsive Omission of Arms: indicate guit feelings concerning hostility or sexuality * Withdrawal and/or Depression ‘+ Dissatisfaction withthe environment + Strong withdrawal tendencies, or passivity + Feelings of inadequacy and ineffectiveness ‘Arms of Female Omitted {male subject): suggests rejection by his mother and unaccepted by females Conflict treatment: ambivalent feelings concerning retreating from or dealing with the environment HANDS Outstretched Hands: suggest a desire for environmental or interpersonal contact or a desire for help or affection Hands Placed behind the Back: indicate an evasive interpersonal approach; unwillingness to deal with ‘the situation; lack of confidence ‘+ Guilt feelings concerning other people ‘+ Guilt feelings concerning masturbation ‘+ Merely a feeling of insecurity concerning the ability to draw hands adequately Near genitals: sexual preoccupation; guilt over mesturbation; defense against sexual approach In pockets: masturbation; maybe psychopath Large Hands: suggest compensation for inadequacy feeling; reaction to some guilt use of the hands ‘Small Hands: indicate feelings of insecurity and helplessness Hands drawn as Mittens: indicate repressed or suppressed aggressive tendencies, with the aggression expressed indirectly lenched fist towards the body: inner and repressed rebelion that finds expression in symptoms rather than in behavior Clenched fist with arms away from the body: aggressive behavior which is close to being acted out, ‘ebelliousness is fairly close to surface in behavior; adolescent delinquents \Vigorously shaded: guiltin regard to aggressive impulse or masturbation activity Heavily shaded: guilt over areal or fantasied action; masturbation; assault; theft Hands emphasis: externalized aggression Drown lat: reluctance to deal with environment because of feelings of inadequacy or denial of power strivings Disturbance of hand treatment: possibly lacks confidence n achievement and social contacts Hands exaggeration: externalized aggression compensation for difficulty with interpersonal relations; masturbation guilt DOOR PARAHAARAAHAAAM AMMO eeeee f £ ‘9 2p PPS @ 22 fCoeoeeddescee e@eev0e CegCdoveoeCvBeOeeeeeHEHe im or Omitted: suggests lack of confidence in social contacts or in productivity or both FINGERS Large fingers: assaultiveness Fi fers and joints are carefully indicated: indicated suggest obsessive control of aggression Finger nails and finger joints carefully depicited: Compulsive body image problem as early schizophrenic Fingers clenched/ cut-off by lines: suggest repressed aggression and rebelliousness * Conscious attempts to control anger + Strenuous efforts to suppress aggressive impulses Fingers without Hands, or Large Fingers in Adult Drawings: indicate regression * Infantile aggressive/assaultive tendencies Long Fingers: found in regressive patients; overt aggression Omission/Overextended of fingers: indicate a feelings of difficulty in interpersonal relationships or masturbatory guilt. Finger like claws: overt aggression; paranoid Talon-like Fingers or Spiked Fingers: = Tndicate infantile, primitive, aggressive, and hostile acting-out tendencies Sometimes associated with paranoid features Fingers fewer than five: dependency, helplessness More than five fingers: aggressive with acquisitive disposition; very ambitious, acquisitive ‘Mittened fingers: repression of aggression and possibly furtive outbursts of aggression Petal or grape like: poor manual skill; infantile emotionality Scissors lke fingers: castrating or views maternal or paternal figures as castrating, Rigid Thumb: castration; concerned with masturbation; possible homosexuality Fingers shaded: guilt (as theft or masturbation) BREASTS Unusually Large Breasts drawn by Male Patients: ‘indicate emotional immaturity ‘maternal overdependence unresolved Oedipal problem psychosexual immaturity strong oral and dependency needs Unusually Large Breasts drawn by Fem exhibitionism, or narcissistic problems. Patients: indicate identification with a dominant mother, Heavy shading or dlsproportionate enlargeme * dependency, immature; self-seeking individualLarge busted, maternal female: drawn by psychologically immature males and females reared in homes where they were dominated and overprotected by mothers or mother surrogates ‘Small: indicates stinginess in offering love, affection, approval to children * if drawn by females, may indicate rejection of female sexuality; may indicate feeling of rejection by mother; may indicate fear of mature female sexuality High and firm: youthful female figure with youthful sex desires ‘+ may indicate young woman's rejection of more mature female sexuality for “boyish”, “free love” equality with men, TRUNK | — Body is drawn in Fragmented Fashion: an indication of serious personality disorganization eenrrererer ree er ‘Simple Oval or Rectangle: its typically drawn in children; ‘+ If drawn by adult of average or better intelligence, this could indicate a regressed state, and e extremely immature personality, or the presence of sever anxiety/conflict e Large Trunk: symbolize unsatisfied drives e Long, Narrow Trunk: indicate possible schizoid tendencies e Rounded Trunk: suggest a passive, feminine, or perhaps an infantile, regressive personality e ‘Omitted by an Adult: patient is severely disturbed or has severe conflicts that center on body impulses e ‘Small Trunk: suggests a denial of drives, feelings of inferiority or both e ‘Shading of the trunk of the Female figure anxiously by Male subject: rejection of own body and e ression against the female e ‘Trunk of opposite sex heavily shaded: hostility towards opposite sex e Slender figure: fears becoming stout; had associations of body fullness with authority and main e problem revolved about resistance to grow to adulthood ¢ ‘Accentuated bosom: usually in the context of a strong and dominant mother figure. a Body emphasis: egocentric; schizoid eS See e BELLY {© orgutisthe center for taking in nourishment o Distended: indicate feelings of physical weakness and somatic concern of involutional or depressed males Empty or not stomach: bizarre indicator may show schizophrenic emptiness Wal ‘Ogdon notes the following concerning the waistline: In males the “above part” is the chest area which embraces the primary body features of physical strength, the “below part” refers to the area of sexual functioning. In females the “above part” refers primarily to the breast and nutritional factors, whereas the “lower part” indicates the sexual and reproductive functions. Conflicts in the waistline may be expressed by the delay in drawing, by reinforced waistline, by a broken line, or by an elaborate belt drawn at the waistline. Emphasized: sexual control sexual concern <9 Pee ea OR»SCOKSKCHHHHO KOH HCHO OHO KOOKHKEHKHOKHKEEED o id @ s cod a Heavily shaded or cut-off: extreme control of sexuality perhaps because of guilt feelings of sense of impending loss of sexual control * Combined with neck conflict, rigid stance, lack of movement, cutting of or hiding of hands ‘and rigidity of hands: indicate excessive rigidity and brittleness of control with failure to deal with demands of the world ‘A Heavy Line Separating the Lower Body from the Rest of the Body: suggest acute sexval conflict Unusually High or Low Waistline: suggest blocking and conflict regarding sexual tendencies Excessively Tight W: line (corseted appearance): Indicate precarious emotional control of body impulses, perhaps expresses by temperamental outbursts + Narcissistic; self-centered; vain Elaborate Belt: indicates sexual preoccupation; sexual control; control of body impulses via rationalization or sublimation, or phobic or neurotic behavior + Buckle: dependency Refusal to draw below waistline: sexually disturbed and blocked Delay in drawing: block in dealing with the body area of sexuality HIPS and BUTTOCKS Emphasized by shading, size or erasure: indicates fixation at anal stage with resultant psychosexual immaturity Waist bound tightly: unstable emotional control GENITALIA ‘© It is rarely drawn, but when they are, they indicate severe psychopathology, overt aggression (in children), or sexual preoccupation and curiosity (adolescents) + Inisimportant to note that normal art students, persons in psychoanalysis, and patients in sex therapy often produce nude drawings that may include genitals Less Legs or feet are typically symbolic of security feelings and/or feelings concerning mot No legs: pathological feelings of constriction and dependence Feeling of lack of autonomy; feeling of lack of autonomy ‘© Castration feelings; difficulty in accepting sexual desires Crossed Legs: indicate defensiveness against sexual approaches Long Legs: suggest a strong need or striving for autonomy ‘Short Legs: indicate feelings of immobility and constriction, Legs muscular on female figure: sexual role conflict Broad stance: defiance of authority; ambivalence over striving for autonomyHeavily shaded: at times a sign of homosexual panic + Indicative of conflict concerning strivings for self-direction + Indicative of repressed concern with sexuality, if drawn by female Legs reinforced: assaultiveness ‘Legs and feet drawn first: strong indicator of discouragement and depression Atrophied legs: feelings of weakness, inadequacy, growing sense of loss of power and autonomy due to physical degeneration in involutional or seniles Erasures or changes of legs (female figure): suggests conflict in the'sexual areas FEET Elongated or Large Feet: associated with strong security needs and possible sexual factors (e.g. a need to demonstrate virility, castration fears) ‘+ _ Need for firm foundation and support need © Need for security Emphasis on Feet: indicate feelings of sexual inadequacy * Possible aggressive/assault tendencies Omission of Feet: indicate a feeling of constriction, with a lack of independence Loss of cutonomy; feelings of heplessness * biscouragement, withdrawal *inchlden, shyness, aggressiveness, or emotional dturbance Sia eet: neat ght, nstidign, or dependence; effeminacy for male drawing) Feet pointing in oppokité direction: anibivalence especially about striving for independence Cubed Foot: mati ie sey footing anata, Figure on tiptoe: tenuous gai on realy; ned for fight fm fstating environment > Unusual ambition Overdetailed: obsession Very pointed with talon fingers: repressed hostility or hostile feelings that cannot be accepted Phallus-like Foot: may be sexually inadequate or sexually preoccupied Feet and legs drawn first: depression, discouragement TOE Emphasized: primitive aggression Confined: confinement of aggression COMBINED, ‘Ankle and wrist small: effeminacy Feet and hands dim or omitted: schizoid PL a PS PORE HR OP HPD & = > PAAPPHOM SRR RGR ELT? 9 4 .COCO KEKE OKEEK MED eevee eevee i » » » . roe Feet and legs drawn first: depression, discouragement Full body with shaded or thin legs: feeling of decline associated with advance age (shaded legs maybe homosexual anxiety) Figure micrographic, with detail shading, erasures, and pressure var depression ions: deep repression; neurotic Tiny figure, well-depicted figures: alcoholic, involutional, senile patient Nude figure with hat: regression ‘Arms and legs tapering: effeminacy Large legs and arms of male figure: assertivenessC. INTERPRETATION CONCERNING OTHER GRAPHIC CONSIDERATION PERSPECTIVE Refers to the side of the drawn figure presented by the Subject to the world. Profile: more mature and sophisticated than front view which is relatively more naive and unsophisticated; evasiveness Consistent profile treatment: evasion; suggests fear of commitment Disproportion of profile: poor judgment Full view: tendency toward exhibitionism and display in vain woman, adolescent girls and socially outgoing male; some degree of accessibility and frankness Female full view, male profile (by male): sign of protectiveness and readiness to expose female Confusion of head profile with full face: rare, except in primitives, low grad mental defectives; organics, schizophrenics Back view: withdrawal from reality Forehead and nose in profile, eyes and mouth full view: schizophrenic Head profile achievement; ith full view body: strained posture; social uneasiness; social anxiety with need for relative to social contacts; drive to exhibit body Profile head and legs, fll face trunk: poor judgment Full figure in profile: reluctance to face worl; tendency to hide self tendency to withdraw from world Full figure and face without profile suggestion: rigidity; determination to face life directly PROFILE VIEW ‘A profile may indicate evasiveness, a reluctance to face and communicate with others, reserved Interpersonal style, serious withdrawal or oppositional tendencies, or paranoid tendencies Controlled evasion: resistance of self-revelation; mature control of feelings with refusal to be exhibitionistic Fall figure profile: serious withdrawal and opposition tendencies “Ambivalent Profile - part of the body facing different direction than another part of body Indicates extreme frustration with strong desire to abandon unsatisfactory situation * Introversive and extroversive trends, an ambivalence which produces confusion STANCE Stance suggests the degree of security the person feelin his of her environment. The drawing may reflect activity, assertiveness, fear of the environment, and even degree of sexual approach or activity Feet wide apart: assertiveness; aggressive tendencies; insecurity of footing is being compensated Tight/stiff posture: rigidity; rigid emotional control; schizold; constriction Unbalanced: tensions Ay e Orre?eee ® PORSMR HR HPROKA SLATS EL ELLE ene .66a KOSCRSSOOEC OT KHL HKHEOKO KOHL HOOK OHH OG Legs closely pressed together (female figure or male Subject): suggest a tense, self-conscious and repressed individual; Anticipation of resistance to the fantasized assault Tight stance with arms pressed closely to the body: paranoid and schizoid; reserve and withdrawal tendency Figure in which the legs float off into space: indicate an individual with precarious stability ff balance figure: pre-schizophrenic possibilty PHALLIC SYMBOL Guns, cigarettes, pipes, canes, shoes, noses: Indicate fear of impotence; hostility over women; Psychosexual immaturity; sexual preoccupation; sexual striving: Don Juan Complex ‘AGGRESSIVE CONTENT dangerous guns, knives, spears, et.: delinquent tendency JOINTS ‘Suggest faulty and uncertain sense of body integrity, this sign is found chiefly in schizoid and schizophrenic patients. ACTION AND MOVEMENT ‘Commonly found in the drawing of males. Drawings from psychiatric patients tend to be static. Drawings with blocked movements are drawn by schizophrenics who have striving towards actions that are blocked. Seated figure: inhibition of lack of drive Seated same sex figure: reduced drive and energy; emotional exhaustion; lack of drive SYMMETRY Bilateral: rigiity and repression; bizarre effects may indicate paranoid schizophrenia Extreme: compulsive; emotionally cold and distant Marked disturbance: neurotics with feelings of physical awkwardness and inadequacy ‘© Hypomanic or hysteric with impulse disturbance; childish of hysteric; severe anxiety neurotic SUCCESSION Most normal individuals draw a figure with a systematic pattern of succession. Machover suggests that people suffering from an impulse disorder such as manic excitement or schizophrenic thinking work in confusion, scattering over the drawing without any particular plan Hesitation to go below head or waistline: reluctance to face conflicts relating to the symbolic meaning, of areas avoided ‘Confused: impulsive; manic and overactive Bilateral development of tiny areas: rigid and compulsive Faclal features drawn last: maladjustments Involving reluctance or inability to face emotional ‘commitments ~— «interpersonal maladjustment — Head clearly Indicated, dim line or no body: compensatory fantasy; feeling of anxiety or of inferiorityInability to complete the drawing; masked paucity of details: significant depression CLOTHING Clothing on figures indicates surface levels of personality Clothing carefully rendered: egocentric; immature; overconcern for maternal criteria for social status Clothing detail elaboration: jomosexual trend Clothing elaboration, grooming: emphasis on possession and social prestige Clothed with toes exposed: aggressive tendencies Over-clothed: clothes narcissist; clothing used for social and sexual enticement; egocentricity; antisocial personality (psychopathic) tendency; need for social approval and dominance Underclothed: body narcissism; self-absorption; introversion; over concern with body development; tends to prefer fantasy to social intercourse * sexually, probably restricts self largely to autoerotic stimulation * derives no genuine satisfaction in social intercourse, prefers own fantasy rumination Uncertainty whether clothed or not: bject's troubled by strong body-consciousness Jewelry, combined with cosmetic features, hair emphasis: glamour indications deatized nude figure: voyeurism Shading in boundaries of clothing: conflict in regard to body COLLAR High: “stuck up” haughty attitude which stresses intellectual mastery of physical impulses Stressed: indicates incoordination of body impulses and metal control with resul refuge in fantasy or self-esteem ‘+ rigid control of physical impulses in one who cannot accey hostility, ‘CROWN * power symbol; indicates grandiosity, strong needs for dominance and a disruption in realty contact ant of Subject seeking Pt physiological needs, sexuality or POCKETS Emphasized: * Infantile dependency; affectional or maternal deprivation forms background for a psychopathic adjustment * Adolescent virility strivings which confct with dependence on mother figure © Oral dependent taking immature, non glving person ‘© Female who stresses independence ‘BUTTONS Down midtine: Indicate continued dependence on mother egocentricity; somatic preoccupation; dependence upon authority OF regression to oral dependency; body consciousness with concem over submission and ©OROPO AAPL SS 4 @ 4 AMPS EOR BP RP RRORHL LLL LLL opSCECCSCCCOHHKHHEHHHTHEHEHHOHHHHKOHOHOHHKEHOKROGHHH Emphasized: dependency; immaturity; inadequacy (On cuffs: compulsive detailing with stereotyped formal emphasis upon control On clothing over breast of the figure: affectional deprivation, dependence; possible identification with the mother Buttons plus hat: regression TE A phallic symbol: concern with male sexuality; control of sexuality and physical impulses In motion/tie flying away from the body: occasionally includes overt sexual aggression Bow-tie: informal, youthful; sexually promiscuous Emphasis of both the tie and handkerchief theme: sexually inadequacy males Figure effeminate; tie emphasized: homosexual trend cap Cap/nat: indicates immaturity; an attempt to mask sexuality Hat on nude figure: regression CANE Cane: impotency; involutional resistance to sexual dectine; virility striving SHOES Detailing: in young pubescent girls-sign of obsessive concern with sexual objects; abnormal curiosity ‘and concern about male sexuality Pointed: aggression Heavily shaded: sexual concern and striving Lack of shoes: primitive; unrepressed aggression and sexuality Buckled: exhibitionistic; narcissistic females decorate and elaborate shoes High heels: homosexual; with glamour aspirations ‘THEME OF THE FIGURE ‘Cowboy: aggression in fantasy lfe directed toward active; physical expression feelings ‘Snowman/peanut-man or line man drawing (often smaller and on the let side of the page): evasion of body problems Clown, cartoon, silly figures: expressing self-contempt or hostility Cartoonistic drawing: handle problems in concealed ways ‘Older person: striving for maturity and controlYounger person: emotionally immature; use of childish defenses; longs for freedom and limited responsibilities for childhood 6 EMPTY FIGURES: e. * indicates evasion; depression; mental deficiency; regression; schizophrenic feelings of Z emptiness. 2 ‘SELF-CRITICISM. . Sel-critical comments as“ can’t draw’, “this is terrible”, ete. indicates the following: e + lowered self-esteem and possible depression '* desire to avoid criticism by the examiner © '* desire for assurance from authority figures e TASK ORIENTATION é Ability appropriately to evaluate psychotic looking drawing when asked to “criticized i": criterion for o retained reality ® Acceptance of task with minimum protest, good initial performance followed by obvious fatigue and discontinuation of task: depressed state a Apologetic of drawing: lack of confidence - ws « Déereased pace and productivity as drawing continues: fatigue ability, possible associated with (cepresigns € i fs one of feifside of figures: feminine identification « “Retsisengs i drawing despite difficulties: good prognosis, presence of drive « Refusal or reluctance to draw figures of opposite sex: sexual role conflict e Resistance of drawing figure: evasion e : & Stylistic drawing, as caricatured, facetious, simplified: exhibitionstc, secretive tendency a Unawareness of grotesques in drawing: schizophrenic tendency in drawing e ANATOMY INDICATIONS Figures with anatomical features clearly indicated. Ordinarily these are pathognomic indicators but also occur in rare cases of subjects with unusual interest in anatomy combined with tension and hostility. Internal organs drawn: schizophrenic or actively manic person Rib Indications: ordinarily are not considered pathological; probably and beauty in male Subjects fed an emphasis on strength ‘Sketchy lines at breast or pelvic girdles not considered to have anatomical indications; shows rigidity Genitals in nude figure: may be drawn by art students, due to training and/or interest + adolescent with sexual preoccupation and curiosity ‘© schizophrenics regressed to lower, ess-controlled levels of emotional development @2A299R RR HD ° 7 .