DRAW A PERSON TEST

Interpretative Manual
 DRAW A PERSON TEST
Karen Machover

I. HISTORY

The first formal development of a projective drawing technique was Goodenough (1926) Draw-
A-Man Test. She used it solely to estimate a child’s cognitive abilities as reflected in the quality of the
drawing. She assumed that the accuracy and number of details contained indicates the child’s level of
intellectual maturity. Points were given for the inclusions of different body parts, quality of lines, and
connections. Although it has been used for the children ages 3-0 to 15-11, it 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 a 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), 71 items for the drawing of the woman, and 12 point quality scale, with 1
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
use 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, it is unlikely
that this intuitive approach will change significantly in the near future.

II. 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.

III. 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 a comfortable
position, with a sufficient room to freely move their arms while drawing. They are provided with a
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 different-
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 a
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 ability 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
artistic ability but that they should still do the best they can. Occasionally, clients will request specific
guidelines, 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 a 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 is a 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
not demonstrate these problems in their overt behavior. Most children, especially younger
ones, 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.
3. The DAP is quick and easy to administer; it is 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 is 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.
6. The DAP often yields a great deal of information concerning self-concept, as well as information
concerning personality style, orientation, and conflict areas.
7. 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.
8. The DAP is often welcomed by inhibited and non-talkative patients. It is relatively nonverbal
test (the only verbal material is contained in the thematic associations to the drawings) and
therefore it is useful when language is a problem.
9. The DAP is a useful test with patients who are evasive and/or guarded. These patients give
barren verbal records in test where they are able to exercise more control over their verbal
expression. But in the DAP, these patients express themselves in a more revealing manner.
Concrete, primitive personalities often produce richer DAP records, compared with their
Rorschach records, whereas verbal, intellectual patients often produce richer Rorschach and
TAT records compared with their DAP protocols.
10. Since the DAP is quick and easy to administer, it lends itself well as an instrument to measure
change in psychotherapy.
11. 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.
12. The DAP is more sensitive to psychopathology compared with other projective tests. Zucker
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.
13. 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). Sarrel, Sarrel and
Berman (1981), in a 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, organic 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
boundary problems, and anxiety about the genitals or other parts of the body.
 DRAW A PERSON TEST
A. INTERPRETATION OF STRUCTURE AND CONTENT

SIZE
The size of the drawing tells about the patient’s 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 anxiety/conflict

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

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 which is 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;
 a neurotic condition, most often with anxiety symptoms;
 depressive conditions, or
 an expansive 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 detail shading, erasures, pressure variations: deep repression; neurotic
depression
STROKE AND LINE QUALITY

Long 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

Vertical Movement: suggest assertiveness and determination

Curved Line Emphasis: suggest flexibility

Straight Line Emphasis: may indicate assertiveness or rigidity

Line 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 with
reality contact and who are overwhelmed by confused bizarre thoughts

Straight, Uninterrupted Strokes: associated with personality style that emphasizes a quick, decisive
and assertive approach to life

DETAILS

Lack of Details
 indicates withdrawal tendencies with an associated reduction of energy
 a typical 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

Excessive Detailing: 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 page: typical 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
 extroversion
 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 is 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.

Low on the Page: indication of insecurity and inadequacy, with resultant depression;
 an indication that the patient feels reality bound and tends to be concrete, rather than
theoretical or abstract
 an indication of a defeatist 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

Bottom 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 nose, 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 it is 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,
dim, 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 male subject which suggests conflict concerning mother
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 anxiety/conflict or agitated depression

If the Shading is carefully done, and seems to enhance the drawing: probable that the area that is
drawn is conflict related, but the conflict is being dealt with appropriately
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

Light, 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
 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 FIGURES

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
in which one is drawn disproportionately larger than the other suggests that the larger figure is viewed
as the stronger, while the smaller figure would suggest that the figure drawn smaller is the weaker sex.

Figure almost the same: does not recognize the role of sex

Female figure drawn bigger than the male figure: recognizes female as stronger sex, powerful than
the male

Male figure drawn bigger than the female: normal; recognize the male as the more powerful sex

SEX OF FIRST-DRAWN FIGURE

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 sexual identification
 poor self-concept
 greater interest and/or awareness of the opposite sex compared with the same sex

EFFEMINATE 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 paranoids; obsessive-
compulsive
 at times, in some normal who tend to be sensitive, idealistic, well-educated or aesthetic in
interests

B. INTERPRETATION CONCERNING BODY PARTS

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 head: indicate 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 as 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 body 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, with dots or circles of eyes, ears stuck on like jug handles, and mouth as a single line.): the
patient is grossly immature, that the patient is regressed, or that he or she is experiencing a good deal
of anxiety/conflict

Sex given the proportionately larger 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

Mask-like face: depersonalization

Fragmented, looks like 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

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 concern 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
Lips and Hair: patients with hysteroid and/or narcissistic traits

EYES
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 perceive 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: dependency; 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

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

Piercing: 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 eye: reluctance to interact

With eyeglasses: evasion from reality; paranoia

Popeyed: sexually excited

Cockeyed: confused thinking

Large orbit with small eye: strong visual curiosity with guilt; possible 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

Raised: 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, or aggressive tendencies
 felt inadequate male role with striving for it (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
 a regressive 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: psychosexually 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

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 difficulties
 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 Mouth: 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 façade to mask less acceptable feelings

Sneering: contempt for others; aggression, hostility probably because of feelings of weakness and
insecurity

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 tightly: single mark of tension; also often seen in individuals who have had active sexual
experience

Mouth open: orality

Mouth markedly full open or oval: dependent; oral-erotic

Mouth clown-like: force amiability; inappropriate affect

LIPS

Full lips in a male figure: indicate effeminacy and appear with other features reflecting foppish and
narcissistic interests.

Cupid Bow mouth in Female Figure: exhibitionistically inclined, sexually precocious adolescent females
Objects drawn in the mouth (e.g. cigarettes): indicate oral erotic trends; acute sexual preoccupation

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

HAIR

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 virility

Hair is absent: feelings of sexual inadequacy:

 castration fears
 a possible schizophrenic condition
 a low 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 sexual nature

Vigorous shading of hair with poor form delineation: expressions of virility 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 hair-do: sociopathic females who enjoys self-display; vanity; homosexual male who enjoys
self display
 Adolescent girls with glamour aspirations

Prim, orderly: in female figure indicates sexual control; possible barreness

Sparse unpressed hair: inadequate virility

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 shading: indicates extent and adequacy of virility; virility striving

Drawing of a hairy woman: suggests the woman is viewed as being sexually passionate

Emphasis on wavy, glamorous, cascading hair (usually seen 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 involving interpersonal relationships

 withdrawn from social relationships
 self conscious; shy

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

Chin 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 responsibility; strong drive to be socially
forceful and dominant
Light lines: fear of responsibility; 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 of the 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
 a cultured, 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 (if the patient is over 10 years of age)

With short slashed: suicidal tendencies

Adam’s Apple: Expression of a 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 Shoulder:

 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

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 Akimbo: 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

Winglike: 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 for accomplishment or acquisition
 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 guilt feelings concerning hostility or sexuality

 Withdrawal and/or Depression
 Dissatisfaction with the 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 masturbation; defense against sexual approach

In pockets: masturbation; maybe psychopath

Large Hands: suggest compensation for inadequacy feelings; 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

Clenched fist towards the body: inner and repressed rebellion 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;
rebelliousness is fairly close to surface in behavior; adolescent delinquents

Vigorously shaded: guilt in regard to aggressive impulse or masturbation activity

Heavily shaded: guilt over a real or fantasied action; masturbation; assault; theft

Hands emphasis: externalized aggression

Drawn last: reluctance to deal with environment because of feelings of inadequacy or denial of power
strivings

Disturbance of hand treatment: possibly lacks confidence in achievement and social contacts

Hands exaggeration: externalized aggression compensation for difficulty with interpersonal relations;
masturbation guilt
Dim or Omitted: suggests lack of confidence in social contacts or in productivity or both

FINGERS

Large fingers: assaultiveness

Fingers 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:

 Indicate 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 like 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 Female Patients: indicate identification with a dominant mother,
exhibitionism, or narcissistic problems.

Heavy shading or disproportionate enlargement: 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

Simple Oval or Rectangle: it is typically drawn in children;

 If drawn by adult of average or better intelligence, this could indicate a regressed state, and
extremely immature personality, or the presence of sever anxiety/conflict

Large Trunk: symbolize unsatisfied drives

Long, Narrow Trunk: indicate possible schizoid tendencies

Rounded Trunk: suggest a passive, feminine, or perhaps an infantile, regressive personality

Omitted by an Adult: patient is severely disturbed or has severe conflicts that center on body impulses

Small Trunk: suggests a denial of drives, feelings of inferiority or both

Shading of the trunk of the Female figure anxiously by Male subject: rejection of own body and
aggression against the female

Trunk of opposite sex heavily shaded: hostility towards opposite sex

Slender figure: fears becoming stout; had associations of body fullness with authority and main
problem revolved about resistance to grow to adulthood

Accentuated bosom: usually in the context of a strong and dominant mother figure.

Body emphasis: egocentric; schizoid

BELLY
 or gut is the center for taking in nourishment

Distended: indicate feelings of physical weakness and somatic concern of involutional or depressed
males

Empty or not stomach: bizarre indicator may show schizophrenic emptiness

WAISTLINE
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

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 sexual conflict

Unusually High or Low Waistline: suggest blocking and conflict regarding sexual tendencies

Excessively Tight Waistline (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

Emphasis on the hips and buttocks: characteristic of homosexual conflicted males.

Exaggerated hips (female figures drawn by female subject): indicate that the woman is aware of the
power that relates to the functional potentialities of ample pelvic development.

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)
 In is important to note that normal art students, persons in psychoanalysis, and patients in sex
therapy often produce nude drawings that may include genitals

LEGS
Legs or feet are typically symbolic of security feelings and/or feelings concerning mobility

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 autonomy; feelings of helplessness
 Discouragement, withdrawal
 In children, shyness, aggressiveness, or emotional disturbance

Small Feet: indicate insecurity, constriction, or dependence; effeminacy (for male drawing)

Feet pointing in opposite direction: ambivalence especially about striving for independence

Clubbed Foot: immaturity and insecurity in footing

Figure on tiptoe: tenuous grasp on reality; need for flight from a frustrating 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

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 variations: deep repression; neurotic
depression

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 naïve 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 with full view body: strained posture; social uneasiness; social anxiety with need for
achievement; guilt relative to social contacts; drive to exhibit body

Profile head and legs, full face trunk: poor judgment

Full figure in profile: reluctance to face world; 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

Full 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 feel in his or 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; schizoid; constriction

Unbalanced: tensions
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.

Off balance figure: pre-schizophrenic possibility

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, etc.: 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: rigidity 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

Facial 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: homosexual 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: subject’s troubled by strong body-consciousness

Jewelry, combined with cosmetic features, hair emphasis: glamour indications

Idealized 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 resultant of Subject seeking
refuge in fantasy or self-esteem
 rigid control of physical impulses in one who cannot accept physiological needs, sexuality or
hostility

CROWN
 power symbol; indicates grandiosity, strong needs for dominance and a disruption in reality
contact

POCKETS

Emphasized:
 Infantile dependency; affectional or maternal deprivation forms background for a psychopathic
adjustment
 Adolescent virility strivings which conflict with dependence on mother figure
 Oral dependent taking immature, non giving person
 Female who stresses independence

BUTTONS

Down midline: indicate continued dependence on mother or regression to oral dependency;

egocentricity; somatic preoccupation; body consciousness with concern over submission and
dependence upon authority
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

TIE

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/hat: indicates immaturity; an attempt to mask sexuality

Hat on nude figure: regression

CANE

Cane: impotency; involutional resistance to sexual decline; 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 life directed toward active; physical expression feelings

Snowman/peanut-man or line man drawing (often smaller and on the left 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

EMPTY FIGURES
 indicates evasion; depression; mental deficiency; regression; schizophrenic feelings of
emptiness

SELF-CRITICISM
Self-critical comments as “I can’t draw”, “this is terrible”, etc. indicates the following:
 lowered self-esteem and possible depression
 desire to avoid criticism by the examiner
 desire for assurance from authority figures

TASK ORIENTATION

Ability appropriately to evaluate psychotic looking drawing when asked to “criticized it”: criterion for
retained reality

Acceptance of task with minimum protest, good initial performance followed by obvious fatigue and
discontinuation of task: depressed state

Apologetic of drawing: lack of confidence

Decreased pace and productivity as drawing continues: fatigue ability, possible associated with
depression

Emphasis on left side of figures: feminine identification

Persistence whit drawing despite difficulties: good prognosis, presence of drive

Refusal or reluctance to draw figures of opposite sex: sexual role conflict

Resistance of drawing figure: evasion

Stylistic drawing, as caricatured, facetious, simplified: exhibitionistic, secretive tendency

Unawareness of grotesques in drawing: schizophrenic tendency in drawing

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 indicated an emphasis on strength
and beauty in male Subjects

Sketchy lines at breast or pelvic girdle: 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, less-controlled levels of emotional development