DRAW – A – PERSON – TEST

By: Karen Machover

I. Introduction
The human figure drawn by an individual relates intimately with the impulse, anxieties,
conflicts and characteristics of a person in the cases, it is assumed that the person’s drawing of the
human figure is the expression of the self, and his attitude and feelings about a person in his
environment. There is also an assumption that each organ of the body when drawn symbolizes
feelings, needs, attitudes, and emotional maturity.
The drawing of the figure representing one’s sex is regarded as a “body image” – a symbol
of the concept of the self, a reflection of self-regard. In the drawing of the human figure (either of
the sex), it is hypothesized, the subject becomes ego-involved conflicting needs and tension are
expected through details and organization of the drawn figure.

II. Developmental Background

The first formal development of a projective drawing was Goodenough’s (1926) Draw-A-
Man Test. She used it 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’s ages 3-0 to 15-11, it has been found
to be accurate for ages 3-0 to 10-0. In 1963, Harris revised the Draw-A-Man by adding two new
forms, a more detailed scoring system, and a much wider standardization. He suggested not only
administering the draw-a-man portion, but also included drawings of a woman and a drawing of the
self. The new extended point system included 73 scoring items for the drawing of the man,
(compared with
Goodenough’s 51), 71 items for drawings of a woman, and a 12 point quality scale, with one
representing the lowest quality and the 12 are the highest. No scoring system was provided for the
drawing of the self. The test was standardization on 2,975 boys and girls from age 5 to 15, with 75
children in each age group. To date, the Goodenough-Harris version has been the most
psychometrically sound form of interpreting projective drawings.
Machover’s (1919) Draw-A-Person (DAP) expanded projective drawings beyond the area of
cognitive assessment and into the interpretation of personality. She developed a number of
hypotheses based on clinical observation and intuitive judgment. For example, she speculated that
the size of the drawings relates to level of self-esteem and that placement of the page reflects the
subject’s mood and social orientation. During the administration phase, clients are given a blank
sheet of paper and simply told to “draw a person of the opposite sex.” An inquiry phase is often
recommended in which the subject answers specific questions about the person in the drawings-
such as what their mood is, their interest, or what makes them angry. Koppitz (1968,1984) extended
the developmental and personality aspects of human figure drawings by creating objective scoring
systems for developmental and emotional indicators.
Currently, the most frequently used version of projective drawings is the Draw-A-Person (DAP)
as originally developed by Machover (19490 but greatly expanded by Hammer (1958), Handler
(1985), and Urban (1963), and Koppitz (1968,1984). Within clinical settings, formal quantitative
scoring systems for depression, impulsiveness or maturational development are rarely used.
Clinicians are far more likely to use intuitive judgemants based on clinical experience and assumed
an isomorphy between the characteristics of the drawing and the client’s outside environment.

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However, few of these interpretations are based on validated research. Given the larch 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.

THEORETICAL FRAMEWORK

In general, current psychological assessment practices focus on description of behavior in

actual situation. Thus, there is a movement away from the assessment techniques, such as the
projective test, that identify underlying personality traits. This away from the measurement of
inferred traits toward a more descriptive approach of psychopathology has been extensively
developed and discussed by Mischel (1968) and others.
The new perspective embodies elements of cognitive developed mental and behaviors
theories.
The result is a broad view that stresses the interaction between the internal (cognitive)
processes and environmental (situational) events. Within this framework, responses to Draw- A-
Person Test reveals something about an individual’s self concept, ideals self and his outlook
towards his environment.

III. Test Description

This test, DAP, assesses personality disturbance in the individual Psychotherapy, school
and research settings. Maybe used with the culturally disadvantaged, educationally deprived,
mentally retarded and the aged. It is usually presented to children, adolescent and adults. No time
limit is given to this test and the scoring is hand key and examiner evaluated. The examiner is the
one that provides a material needed in this exam, like a blank sheet as paper soft pencil, the paper
illumination. And in this test, the examiner must assume the subjects usual state of relaxation so
that any physical tensions may assume to be endogenous.

IV. Rationale

The Draw- A- Person Test is different from any projective test, because drawing is one way
of projecting self-concept and attitude towards someone in the environmental. A drawing may be a
conscious or it may incline deeply disguised symbols expressive of unconscious phenomena. In
an entirely different context, however, figure drawings may have some diagnostic utility, at least as
screening measures. When viewed as samples of visual graphic abilities, simple figure drawings
may help in assessing brain damaged. And such figures typically appear fragmented because they
lack proper spatial assessing brains relationships among body parts. This projective technique test
is found to be the most useful in inducing a more relaxed and informal atmosphere, which facilitates
the development of report.

V. Administration of the test

Regardless of the different variations in administration, instructions are kept in a minimum.

This helps to maintain the ambiguity of the situation, there by increasing the likelihood that
significant aspects of personality will be projected into the drawings. Clients should be seated in a

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comfortable position, with a sufficient room to freely move their arms while drawing. They are
provided with a single sheet of paper measures 8 1/2 x 11 inch and, if an achromatic drawing
desired, client is given a #2pencil with an eraser if chromatic drawing is desired give the client
crayons, colored felt – tip pens. If the DAP is given, they would simply be requested to Draw-A-
Person. Once the first drawing is completed, subjects are given another 8 1/2 x 11-inch, unlined
paper and requested to draw a person of the opposite sex.’’ If the self-version were also
administered, they would be requested to ‘’draw me a picture of you.’’ Some administrators suggest
that no other instructions be given were as other recommended that the person also be told to take
his or her time and a good as job as possible. Administrations other than the DAP would require
similar instructions. For example, one variations of the HTP recommends that the client be
requested to ‘’draw me a picture that includes in the house, tree and a person’’ or kinetic drawings
with simply request them to draw me a picture of your family (or persons in school) doing
something.’’ Once the drawing has been completed, the clinician note the client’s name, age and
date and should be number the drawing according to the order in which they drawn.
Sometimes, clients complain that they are poor artists. This might be countered with the
observations that most people artistic stops when they are about 10 years of age so that most
people are not particularly good artists. Furthermore, it might be stressed that this is not a test of
an artistic ability but they should still do the best that they can. Occasionally, clients will request
specific guidelines, such how big to make a person, what sex they should be, or what the person
in the drawing 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 to draw a more 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. The story can then be used to aid future interpretation. More
specific question be asked, such as having subject indicate what the person in the drawing is
thinking or feeling, what makes him or her happy or sad, or what his or her interest are. If the only
DAP is administered, might only select and ask the question relevant to the person drawing. The
clients themselves are there by use consultants to help with the interpretations. This latter
procedure is likely to be most successful for clients with good level of insight and who are fairly
appreciative of conscious processes.
During he 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 the 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.
However, if a clinician would like to obtain information about family, school or work, then, variations
such as the Kinetic Family Drawing or Kinetic School drawing might be administered. Different
authors argue relative usefulness of the kinetic variations. For the example, Burns (1987) has argue
for and provided examples advantage have empathized that the Draw-A-Person over the regular
House-Tree-Person. Similarly, Sarell and Berman (1981) have emphasized that the Draw-A-
Person is good at uncovering attitudes towards the person’s sexuality and body image.

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VI. Reliability and Validity
Global ratings of drawings have reliabilities in the .75-.90 range. But much lower for details
of drawings in the .25-.50 range. Most of Machover’s interpretative hypotheses have not been
supported by the research. Newer scoring procedures have established preliminary data on
reliability, but little to no empirical evidence exists to validate this measure

VII. Conclusion
This Draw-A-Person Test is applicable in the Filipino stetting, because everybody knows or
rather can draw, and in this projective test, it is not important even though you don’t have a proper
practice in drawing. Also this test is best for Filipinos, to reveal their depressive in the sphere of
interpersonal relationship, their self-concept and their feelings and attitudes toward his environment
and the people within it, in addiction, it is a better type of test to pour out their secret or hidden
outlook to the present situation of the Philippines.

VIII. Interpretation
1. Theme
A. Self-sex – (regression) if younger, emotional fixation at the age.
B. Self-sex – if older, identification with parent image.
C. Line (snowman, peanut man) – evasion of bodily problems. Cartoonist
drawings; handles problem in a concealed way.
D. Sticks figures – no resistance, complete denial sex, schizophrenic,
psychopath, child-like behavior.
E. Well-adjusted individual usually draw people they like. Sick people or
individual draw people they don’t like.

SUCCESSION (SEQUENCE) INTERPRETATION

a. Starting with the feet and working upward or
starting with the facial features and enclosing
them.
b. Hesitation to go beyond hands or beneath the
waist
. Opposite sex drawn first
d. Confused scattering drawing
e. Developing of each area (tiny) bilaterally in a
subjective bound fashion
- Interpersonal maladjustment involving reluctance or
incapacity to undertake emotional commitments.
-Reluctance to face conflicts relating to such areas
-Confusion as to sex identification; true homosexual;
attachment or dependence on parent of the opposite
sex
-Painlessly impulsive disorder, manic excitement,
schizophrenic thinking
-Fearful in venturing into general contour of a good
idea, overcautious, impulsive

COMPARISON OF THE FIGURE INTERPRETATION

a. Figure almost the same -Does not recognize the role of the sexes
b. Female figure drawn bigger than the male figure -Recognize female as stronger sex, powerful than male
c. Male figure bigger than female -Normal, recognize the male as the more powerful sex
SIZE AND LOCATION INTERPRETATION

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a. Figure towards right -Environmentally oriented
b. Figure towards left -Self-oriented
c. High up on page -Optimistic
d. Low too down on page -Depressed
e. Scattered figure on the page with expansive use -Manic
of paper and extravagance of energy
f. Very large figure placed aggressively in the -Tendencies of paranoia, grandiose paranoid with high
middle of the page self esteem, egocentric
g. Placement is relatively high on the page (too -Lack of insight, unjustified optimism, low level of
high) energy and lack of secure footing (dependency)
h. Micrographic figure -Deeply repressed and neurotically inclined subject
i. Thin figure -Repressed and negative schizophrenic with low
energy level
j. Small figure -Constricted ego; anxiety emotional dependence;
feelings of discomfort and restriction
k. Tiny drawing -Feelings of inadequacy, withdrawal tendencies
l. Thin figure -Subject is responsible for environmental press with
feelings of expansion and aggression
m. If the drawing is not self-concept figure -The drawing maybe a projection of the ideal self image
or projection of parental figure

ACTION OR MOVEMENT INTERPRETATION

a. Drawing of seated or reclining individual -Low energy level, lack of drive, emotional exhaustion
b. Drawing suggestive of much activity or -Strong impulses toward motor activity, restlessness,
considerable movement reduced a man action, hyper manic
c. Drawing with clear impulses to move but -Schizoid or schizophrenic individual whose striving
blocked by static, artistic or introversive figures toward accomplishment of powers are strong but
fantasy bound
d. Action and fantasy - Common among boys. Boys entertain fantasies of
power and adventures.
SYMMETRY INTERPRETATION
a. Disturbed symmetry - Inadequacy, in coordination
b. Excessive symmetry - Depression; intellectualization, obsessive
compulsivity, emotionally cold and distant, controlled
personality among neurotics.
c. Diffusion -Hysterical, carelessness, poor control over activity.
d. Extreme rigid effect Rigidity correlated with corresponding postural estates
in subject from psychosomatic point of view, maybe
considered a hyper tonic muscular defense against the
release of repressed emotional states and on the other
hand as protection versus a menacing environment.
e. Gross disproportion - Schizophrenia
f. Lack of symmetry - Insecurity

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 LINE QUALITY AND LINE FORM INTERPRETATION
a. Combination of firm, heavy light lines - Assaultiveness
b. Dim line - Timidity
c. Firm line - Individual with great deal of drive and ambition.
d. Fading line - Hysteric tendency
e. Fluctuating line - Tension
f. Jagged line - Hostility
g. Line break - Conflict area
h. Reinforced line - Anxiety, insecurity, conflict area; repression, particularly
with reference to area reinforced
i. Sketchy lines - Anxiety; timidity
j. Thin elongated lines - Tension
k. Uninterrupted straight lines - Decisive
l. Very faint lines -Depressed inadequate; withdrawn schizophrenic
m. Full view, hand heavy and reinforced, facial - Wish for social participation, contrast with shyness,
features sketched dimly timidity, self-consciousness, in actual social depression
n. Side view, emphatic lines of large figure - Uncertain withdrawal and artistic realization of
narcissistically oriented drive to social dominance
o. Angular body - Aggression, critically masculinity
p. Curved lines on body of female - Effeminacy
q. Emphasis on circles in depicting body - Effeminate, narcissistic, submissiveness
r. Few curves, many sharp edges - Aggressive, poorly adjusted
s. Rounded lines - Femininity
t. Straight lines - Aggressiveness
DIFFERENT STROKES IN DRAWING INTERPRETATION
a. Circular strokes - Dependency, feminine tendency, lack of assertion,
dependent, emotional
b. Straight line stroke -Assertiveness (children as subject)
c. Constricted stroking - Tension, withdrawal
d. Energetic unhesitant stroke - Perseverance, insecurity
e. Horizontal stroke - Emphasis on fantasies; femininity, weakness
f. Indeterminate vacillating stroke - Insecurity, lack of perseverance
g. Length of stroke movement - Decrease in excitable subjects, increase in inhibited
ones
h. Long stroke - Controlled behavior
i. Rhythmic stroking - Responsive, uninhibited
j. Short sketchy strokes - Anxiety, uncertainty
k. Short strokes - Impulsive behavior
l. Vertical strokes - Assertiveness, determined by hyperactive

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 STANCE INTERPRETATION
a. Legs pressed closely together - Tense, self-conscious, awkward and apprehensive,
neurotic when this is extreme in female figure (subject
is female) ; fear of sexual attacks (subject is male) ;
anticipation of resistance to fantasized attack
b. Thigh stance combined with arms pressed tightly - Paranoid, schizoid
to body as if toward off the blow of environment
c. Wide apart legs - Insecurity of feeling expressed in tiny painted or
shaded reinforced first by a round line or hesitant to
paint line throughout
d. Legs apart, figure is planted firmly on the ground - Among chronic alcoholics
as if drifting in space
PERSPECTIVE INTERPRETATION
(Representation of the relative position, size, and
distance of an object on a surface)
a. Consistent profile - Index of evasiveness, suggest fear of commitment
b. Full view - Tendency of exhibitionism, display
c. Overdressed front view - Exhibitionism
d. Profile - More mature
e. Hands behind each or in pockets - Dried evasion
f. Head profile, body full view - Social uneasiness guilt in relation to social contact,
degree of dishonesty, drive exhibit one’s body which
prevents executions of consistent profile
g. Confused forehead and more in profile and mouth - Low-grade defectiveness organic cane which
full view schizoid under pinning has become accentuated
schizophrenic character.
PROFILE INTERPRETATION
a. Full inclined head to body extremities - Evasion of reality
b. Silhouette - Depersonalization
c. Back view - Withdrawn from reality
d. Out-lined body - Total withdrawal
ANOMALIES INTERPRETATION
a. Area as depicted broken line, damaged or - Feeling of emasculation anxiety or masculine
otherwise impaired inadequacy
b. Bizarre details - Schizophrenic
c. Body distortion - Psychotic tendency
d. Deviant drawing with a little evidence of anxiety - Character disorder, such as antisocial personality
(psychopath) psychosis
e. Dishelved of part - Felt lack of status, low self-esteem
f. Distortion of [art - Conflict relative to the part
g. Elongated anatomical area - Phallic symbol
h. Internal organs shown - Schizophrenic; somatic delusions
i. Omission of part - Conflict relative to that part

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j. Transparency - Poor judgment
k. Unessential details emphasized - Schizophrenic
l. erasures - Neurotic
APPURTENANCES (Accessories) INTERPRETATION
a. Aggressive content as daggers, guns, spears - Delinquent tendency possibility
b. Belt emphasized - Sexual conflict
c. Body emphasized - Egocentric, schizoid
d. Buckle - Dependency
e. Buttons - Dependency
f. Buttons on clothing over breast of figure - Affectional deprivation, dependence; possible
identification with mother
g. Buttons on cuffs - Obsessive elements accompanying dependency
h. Buttons inconspicuous (as on cuffs) - Obsessive-compulsive
i. Buttons on midline - Maternal dependence; somatic preoccupation
j. Buttons plus hat - Regression
k. Cane - Impotency; involution resistance to sexual decline,
virility striving
l. cigarette - Sexual preoccupation, virility striving
m. Cigarette between lips - Sophisticated oral eroticism
n. Clothing carefully rendered - Egocentric, immature; over-concern for material
criteria for social status
o. Clothing detail elaboration - Homosexual trend
p. Clothing elaboration, grooming - Emphasis on possession and social prestige
q. Clothing (over clothed) - Egocentricity, anti-social personality
(“psychopathic”) tendency for social approval and
dominance
r. Clothes ill-fitting - Unsatisfying social status
s. Clothing transparent - Voyeurism
t. Collar tight - Problem with control of anger
u. Disguised (clown like etc) - Dissatisfaction
u. Disguised (clown like etc.) - Dissatisfaction

OTHER THINGS ADDED TO THE DRAWING INTERPRETATION

a. Earring - Exhibitionism, sexual preoccupation
b. Gun - Aggressive tendency, hostility; sexual
preoccupation
c. Handkerchief of coat pockets emphasized - Sexual inadequacy
d. Hat crease - Fantasy relative to female genitalia
e. Hat plus buttons - Aggression
f. Lacings Exhibitionism, sexual preoccupation
g. Hat transparent - Primitive sexual behavior
h. High heel on male (male subject) - Homoerotic tendency

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i. Knife - Aggressive tendency, hostility
j. Mask - Cautious, secretive, possible feelings of
depersonalization and estrangement
k. Pants transparent (legs shown through) - Homosexual anxiety
l. Pipe - Sexual preoccupation
m. Pipe between lips - Sophisticated oral-erotism
n. Pocket - Affectional deprivation; material dependency
o. Pocket emphasized - Dependent psychopath
p. Pocket several (male subject, male figure) - Passive homosexual tendency
q. Shoelaces, wrinkles, other unnecessary detailing - Obsessive-compulsive
r. Skirt ankle length on female (male subject) - Material figure
s. Straw, toothpick between lips - Primitive oral-erotism
t. Tie - Masculine striving; sexual preoccupation
u. Tie, flying or swept out - Overt sexual aggression, sexual preoccupation
v. Trousers fly - Preoccupation with masturbation
w. Uniform of cowboy or soldier on male figure of - Need for greater status and recognition that
male subject subject feels he possesses
x. V-neckline on female (male subject) - Breast fixation, voyeuristic tendency
y. Weapon - Aggressiveness
z. Yo-yo - Immaturity, masturbatory fixation
SHADING INTERPRETATION
a. Shading - Anxiety
b. Shading in sexual area - Anxiety relative to sexual functions
c. Smudgy shading - Anal-erotic interest
d. Heavy shading - Aggressive tendency; anti-social personality
e. Profuse, smudgy shading - Psychotic potential
f. Slight of minimal shading - Relative freedom for anxiety
g. Shading in chest of figure - Sensitive to physical inferiority
h. Shading in breast of female (male subject) - Inhibited sexual concern
i. Shading in sexual area of female (male subject) - Sexually sadistic male
j. Shading in boundaries of clothing - Conflict in regard to body
k. Unconscious treatment of skin as though - Serious lapse of judgment especially to sexual
transparent behavior

PLACEMENT INTERPRETATION
a. Area variation - High on page, optimism;
- Low on page, depression;
- Middle of the page, aggression;
- Left of the page, self-oriented or
introversive; right part of the page,
environment oriented or extrovert

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b. Below mid-point drawings - concretistic, depressed mood, feelings of
inadequacy
c. Centered drawing - emotional, self-centered (children as subject;
security)
d. Elevation of drawing above midpoint - Aloofness; fantasy rather than reality satisfactions
e. Feet on base of page - Need for stability because of disturbance produced
by conflict
f. High-on-page figure (looks adrift) - Insecurity, unrealistic euphoria
g. Large, centered figure - Manic tendencies; paranoid grandiosity
h. Large figure shifted to the left - Aggressive psychopath with feelings of
inadequacy
i. Left side of page figure - Introversive, self-oriented, tense
k. Middle placement - Overt-aggression
l. Upper-left-corner drawing - Regression
POSTURE INTERPRETATION
a. Back of male figure to observer, male subject - Desire to be a woman, feminine identification
b. Confusion of full-face and profile (profile forehead - Mental retardation; primitive cultural origin;
and nose, full-face eyes and mouth schizophrenics
c. Face turn toward page, so that back of head - Withdrawal tendencies
shows
d. Full-face figure - Schizophrenic tendencies; social accessibility;
social communication, social dependency
e. Off-balance figure - Schizophrenic possibilities
f. Profile figure - Evasiveness
g. Profile head, full-face body - Social anxiety with need for contact
h. Profile head and legs, full-face trunk - Poor judgment
i. Reclining or seated - Emotional exhaustion, lack of drive, low energy
j. Rigid posture, profile figure - Defensive restriction of activity
k. Seated figure - Inhibition on lack of drive
l. Seated same sex figure - Reduced drive and energy
m. Self consciousness - Timid
n. Stance tight - Schizoid
o. Stance unbalanced - Tension
p. Stance wide - Aggressive tendencies
q. Stiff posture - Rigid emotional controls
PRESSURES INTERPRETATION
a. Excessive pressure - Anti-social personalities; organics (including
retardates) paranoids
b. Fluctuating faint lines - cyclothymiacs, impulsive, unstable
c. Heavy pressure - energy assertiveness
d. Light pressure - low energy level, restraint, repression
e. Pressure - aggression, sadism

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f. Pressure variations - adaptability, flexibility
g. Pressured lines - aggressive, assertive
h. Uneven pressured lines - anxiety, insecurity
i. Varied pressures - emotional unstable, moody
j. Very faint line - schizophrenia
HEAD (center for the intellectual power; control INTERPRETATION
of body impulses)
a. Head Emphasized - depressed and emotionally withdrawn
b. Big head - depressed
c. Looking away from the viewer - possible sign of withdrawal, evasion, rejection,
environmental problems
d. Large head size - shows strong intellectual strings, considerable
fantasy activity as a source of satisfaction, possible
grandsire
e. Disproportionately small head (big body) - obsessive-compulsive, expression of the desire to
do their painful guilt
f. Drawing ape - like physical power
g. The sex that was given large head is - accorded the intellect and authority
h. Tiny heads with:

- Lollipops - Immaturity

- Body not well defined - Brain damage

- Big body - Intellectual capacity

i. Fragmented heads, looks like robot - lack of control of impulses denial of reference
j. Flat shaded head - fear of castration of rejection
k. No frailties - Depersonalization given by schizophrenic paranoid
l. Ear emphasized or enlarged - Auditory hallucinations; ideas or reference;
paranoid or schizoid; ear injury or hearing disability;
sensitivity to attributes of others
m. Ear large - Sensitive over criticism (children subject)
n. Ears, lack of emphasis - Refusal to listen to criticism, denial of concern over
opinion of others, denial of auditory hallucinations
o. Head dim - Self-conscious, shy
p. Head drawn last - Conflict over interpersonal relations; possible
thought disorder
q. Head enlarged - Concern about sufficiency intellect (brain damage,
retarded), over ideational (including paranoid), pride
over intellect
r. Head large on figure of opposite sex - Opposite identification dealt with by narcissism
and obsessive-compulsive mechanism
s. Head malformed - Organicity

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t. Head split
u. Over-detailed or over-emphasized head
HAIR
a. No hair
b. Balding male figure
c. Beard, mustache, other facial hair
d. Hair emphasized (shaded)
e. Hair emphasized
f. Hair on female not on male
g. Hair given much attention
h. Hair on jaws
i. Hair mussed
j. Hair parted on middle
k. Hair reinforced
l. Sparse, unpressured hair
m. Hair white on male figure
n. Hair heavy shaded
o. Hairy female figure
p. Long and unshaded
q. Hair messy and profuse
r. Hair unshaded
s. Elaborate hair do
FACE
a. Face, strong emphasis
b. Face, shape-if oval
c. Extra lines at naso-labial fold
d. Brow (eye brow) bushy
e. Brow (eye brow) trim
- feminine identification dealt with by narcissism and
obsessive-compulsive mechanism
- suggest active fantasy
INTERPRETATION
- not socially sensitive; impotence
- Felt lack of virility
- Doubts about virility with compensatory virility
striving; sexual inadequacy
- Virility symbol; with heavy shading possible anxiety
over sensual needs
- Infantile or regressed sex drives; sensuality or
sensual needs
- Regression
- Narcissism; possible homosexual tendency
- Schizoid
- Sexual immorality
- Feminine identification dealt with by narcissism
and obsessive-compulsive mechanism
- Assaultiveness
- Inadequate virility
- Felt lack of masculinity and virility
- Severe anxiety about sexuality or mental control,
anxiety over thinking or fantasy, virility conflict with
imminent possibility of moving into delinquent
sexuality
- Sexual passionate and egocentric attitude based
on feelings of inadequacy paranoids, narcissists
intellectually righteous, vain person, enlarged ego
- Ambivalence or hostility over sexuality
- Sexual disorderliness
- Depression, drop libido
- sociopath or homosexual male who enjoys self-
display, Adolescent girls with glamorous aspirations
INTERPRETATION
- concerns about social relationship and outward
appearance, compensating from inadequacy,
weakness or lack of assertion by drawing an
aggressive, social dominate self-image; inner drive
for social assertion
- feminine, sensitive, aesthetic; if square-powerful,
masculine power strivings
- Provides depth and maturity of face, concern over
emotional maturity or appearing mature
- Uninhibited
- Disdain, refinement
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f. Hazed brow - Contemptuous, though attitudes and questioning
attitude
g. Chin emphasized - Compensation for inadequacy, indecision, fear of
responsibility (dim line elsewhere fantasy)
compensation
h. Chin emphasized on opposite sex - Dependency on opposite sex; opposite sex
regarded as stronger
i. Chin enlarged - Aggressive drive
j. Chin exaggerated - Compensation for felt weakness, indecision
k. Eye a circle (no pupil) - Egocentric hysteric; egocentricity, immaturity,
regression
l. Eye a dot with pressure, unenclosed - Ideas of reference, paranoia
m. Eye emphasized - Externalized aggression
n. Eye prominent - Assaultiveness
o. Eye small - Self-absorption, voyeuristic tendency
p. Eye closed - Schizoid
q. Eye large, staring - Paranoid trend
r. Eyes and lashes large - Homosexual
s. Eyes reinforced - Assaultivenes
t. One big eye, another small - Weakening of personality, strength disintegration
u. Furnitive and suspicious eyes - Conveys idea of reference
v. Piercing - Aggressive social tool, strong curiosity, but guilt
connected with that
w. Orbit area of the eyes indicate by a line: maybe - Function, immature voyeuristic conflict
large but actual eyes are tiny
x. Omission of pupil, drawing only outline of eyes - World is perceived as undifferentiated mass of
stimulation with little discrimination of details
y. Pop-eyed - Sexually exited
z. Cock-eyed - Confused thinking
aa. Face dim - Self-conscious, shy
bb. Facial expression - May express attitudes which subjects feel other
people have toward him, rather his attitudes toward
them; prevailing moods and attitudes
cc. Facial expression placating - Insecurity
dd. Facial expressions self-preoccupied - Schizoid
ee. Features childlike - Infantile social behavior
ff. Features effeminate (male subject) - Homosexual trend
gg. Features mask like - Cautious, secretive, possible feelings of
depersonalization estrangement
hh. Features over emphasized - Inadequacy with compensatory fantasy
ii. Features primitive, tiny - Schizophrenic
jj. Lashes long - Self display, seductiveness
kk. Lashes on male - Effeminacy, homoerotic tendency; homosexual
tendency
ll. Lips full on male - Effeminacy
mm. Elaborated cupid bow (combined with - Sexually precautions
cosmetized features)
nn. With toothpick or straw - Individuals have history of oral erotism
oo. With cigarette, gum - Manifest sexual symbol and when given particular
emphasis and made active usually represents acute
sexual preoccupations
pp. Mouth clown like - Forced amiability, inappropriate effect
qq. Mouth concave, oral-receptive - Passive-dependency

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rr. Mouth emphasized - Alcoholism, depression, regression
ss. Mouth heavy line - Oral-aggression, sadism
tt. Mouth markedly full, open or oval - Dependent, oral-erotic
uu. Mouth omitted on female subject - Possible scolding maternal figure; asthmatic
vv. Mouth open - Orality
ww. Mouth line single - Oral-aggressive
xx. Detailing with teeth - Infantile, dependent individual whose dependency
is manifested also in undue emphasis on buttons
passive to receive nourishment
yy. Detailing with tongue - Intensifying concentration on a primitive levels
which also adds an erotic hot
zz. Button nose - Childish manifestation
Aaa. Long thin nose - Suffers from body weakness. In a compensating
drive for physical power and aggressive
Bbb. Omission of nose - Regressed adults; immaturity among child
Ccc. Nose cut-off - Castration, fears or wishes
Ddd. Nose large - Involuntary melancholia, sexual impotency
(adolescents; felt inadequate male role with striving
for it)
Eee. Nose long - Impotence
Fff. Nose shaded - Castration; maybe projected on opposite sex
Ggg. Nose strong - Masculine assertion
Hhh. Nostrils - Primitive-aggression
NECK INTERPRETATION
a. Line to indicate neck - Weakening of intellectual control over body
impulses
b. Neck slashed - Suicidal tendency
c. Short neck - Impulsive behavior rather than intellectual
d. Presence of Adam’s apple - Masculinity striving; sexual role confusion (on
opposite sex, that sex regarded as not virile)
e. Neck emphasis - Need for defensive intellectual control (children as
subject)
f. Neck excessively large - Awareness of physical impulses, with effort to
control them
g. Neck like giraffe - Schizophrenic
h. Neck long - Hysterical swallowing inhibition; problem in control
of anger primitive drives; schizoid tendency
i. Neck long, thin - Inhibition repression
j. Neck narrow - Depression
k. Neck omission - Immaturity, lack of impulse control, regression
l. Neck short, thick - Self-indulgence, inhibited impulse expression

TRUNK INTERPRETATION
a. Body line heavy - Apprehension with neurosis, depersonalization
fears
b. Body line reinforced - Explosive personality (emotional instability)
c. Body lower area of female visible through - Involuntary sex problem, sexual fantasies, sexual
transparent skirt (male subject) preoccupation

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d. Body omitted (no trunk); appendages attached to - Denial or repression of physical drives; immaturity;
head or regression; retardation; primitive character
structure
e. Breast area emphasis - Dependency, sexual immaturity and emotional
immaturity; homosexual trend
f. Breast emphasis, female subject - Feminine identification with dominant mother
g. Breast emphasis, male subject - Maternal dependence and domination; oral
dependency
h. Breast small - Maternal figure:unnurturing
i. Buttock emphasis - Homosexual trend
j. Buttocks and hips on male figure unusually - Homosexual trend
emphasized or large or rounded
k. Hip emphasis - Homosexual impulses
l. Hip emphasis on male figure (male subject) - Homosexual trend
m. Hipline break - Sexual conflict
n. Hips and buttocks of male figure unusually - Homosexual trend
emphasized or large and rounded
o. Measurement lines or stick frame for body - Exhibitionism, perfectionism
p. Midline emphasis (stressed midline) - Conversion or somatic preoccupation; maternal
dependence; possible schizoid
q. Navel - Dependency (children as subject)
r. Organs shown (internal anatomy) - Manic, schizophrenic; schizophrenia; somatic
delusions
s. Sex organs shown - Analysands, professional artist, schizophrenic
t. Sexual anatomy area distorted or omitted - Sexual conflict
u. Shoulders broad - Physical power drive
v. Shoulder dropping - Dejection; feeling of guilt; lack of vitality
w. Shoulders exaggerated or any masculine details - Feeling of masculine insufficiency
x. Shoulders massive on male (male subject) - Compensation for felt inadequacy
y. Shoulders wide on female (male subject) - Sexual conflict
z. Shoulders squared - Aggressiveness
aa. Stick frame for body or measurement lines - Exhibitionism
bb. Torso on female upper half is emphasized (male - Dependence on maternal figure
subject)
cc. Trunk angular or square - Masculine tendencies
dd. Trunk incomplete - Regression
ee. Trunk not closed at bottom - Sexual preoccupation
ff. Trunk rounded - Feminine traits
gg. Trunk rounded, narrow waist on male figure - Homosexual trend
(male subject)
hh. Waist a heavy line - Sex consciousness

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ii. Waist narrow, trunk rounded on male figure (male - Homosexual trend
subject)
jj. Waist bound tightly - Unstable emotional control
kk. Waistline emphasized - Sexual conflict
HANDS, FEET, AND FINGERS INTERPRETATION
a. Ankles and wrist small - Effeminacy
b. Feet, hands dim omitted - Schizoid
c. Feet and legs drawn first - Depression; discouragement
d. Feet omitted - Discouragement, withdrawal
e. Feet small, male subject - Effeminacy
f. Finger omitted or over extended - Masturbation guilt
g. Fingernails, fingers joints carefully depicted - Compulsive body image problem as early
schizophrenic
h. Fingers articulated and cut-off by line - Repressed aggression
i. Finger claw - Overt aggression; paranoid
j. Fingers grape - Immaturity, infantile traits
k. Fingers, joints and nails carefully indicated - Obsessive control of aggression
l. Fingers large - Assaultiveness
m. Fingers fewer then five - Dependency, helplessness
n. Fingers long - Overt aggression
o. Fingers more than five - Aggression, ambition
p. Fingers no hands - assaultiveness; infantile aggression
q. Fingers petal - Immaturity; infantile traits
r. Fingers scissors - Subject are castrating, or views maternal or
paternal figures as castrating
s. Fingers shaded - Guilt (as theft or masturbation)
t. Fingers spears - Overt aggression; paranoia
u. Fingers stick - Assaultiveness
v. Fist clenched or closed - Rebellion (close to body, repressed; out from body
overt)
w. Foot emphasized - Assaultiveness
x. Foot of the male emphasized - Involuntary impotency
y. Foot phallic - Sexual inadequacy and preoccupation
z. Hand of female figure in pelvic are, make subject - Female regarded as sexually rejecting
aa. Hand at genital area - Auto-erotism
bb. Hand-mitten - Repressed-aggression
cc. Hands behind back or pockets - Evasion, guilt, lack of confidence with hands in
pocket may be psychopath
dd. Hands dim - Lack of confidence in productivity or social contact
ee. Hands emphasized - Externalized aggression
ff. Hands exaggeration - Compensation for difficulty with interpersonal
relation or masturbatory guilt

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 LIMBS INTERPRETATION
a. Arms and legs distortion or reinforcement, left - Sexual role conflict
side, male subject, male figure
b. Armless figure of male, male subject - Strong genital drive associated with guilt; wish to
be castrated
c. Arms close to body - Tension
d. Arms extended from body and over long - Externalized aggression
e. Arms folded short - Rejection maternal or paternal figure of opposite
sex
f. Arms heavily, shaded on opposite sex - Opposite sex viewed as punishing
h. Arms and legs tapering - Effeminacy
i. Arms long - Ambition for accomplishment or acquisition
j. Arms long and powerful - Need more autonomy (children as subject)
k. Arms long, weak - Dependency, nurturance needs
l. Arms omitted - Guilt, withdrawal
m. Arms omitted or short arms on opposite sex - Rejection on maternal or paternal figure of the
opposite sex
n. Arms over extended, reaching - Dependency, desire for affection
o. Arms pressed to sides - Difficulty in social contact fear of aggressive
impulses
p. Arms reinforced - Assaultiveness
q. Arms short - Lack of ambition
r. Arms strong (male subject) - Aggressive, energetic
s. Arms thin, weak - Lack of achievement
t. Elbows and joints stressed - Compulsive; schizoid
u. Joint emphasis - Schizoid or schizophrenic
v. Legs and arms of male figure large - Assaultiveness
w. Legs long - Needs for autonomy (children as subjects)
x. Legs masculine on female figure - Sexual role conflict
y. Legs omitted - Discouragement, withdrawal
z. Legs reinforced - Assaultiveness
TASK ORIENTATION INTERPRETATION
a. Ability appropriately to evaluate psychotic-looking - Criterion for retained reality contact
drawing when asked to “criticize it”
b. Acceptance of task with minimum protest, good - Depressed state
initial performance followed by obvious fatigue and
discontinuation of task
c. Apologetic of drawing - Lack of confidence
d. Decreased pace and productivity as drawing - Fatigability, possibility associated with depression
continues
e. Emphasis on left side of figure - Feminine identification
f. Labeling - Circumstantiality

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g. Left-to-right stroke
h. Persistence with drawing despite difficulties
i. Refusal or reluctance to draw figure of opposite
sex
j. Resistance of drawing figure
k. Right-to-left-stroke
l. Sitting on edge of chair
m. Strokes away from subject
n. Stroking in (toward the body)
o. Stylistic drawing, as caricatured, facetious,
simplified
p. Unawareness of grotesqueness in drawing
COMPOSITE CRITERIA
- Extroversion, need for support
- Good prognosis, presence of drive
- Sexual role conflict
- Evasion of problem, reluctance to reveal self
- Introversion, isolation
- Desire to escape from situation; fear of loneliness,
mistrust
- Aggression, extroversion
- Introversive
- Exhibitionistic, secretive tendency
- Schizophrenic, tendency in drawing
INTERPRETATION

a. Arms dangling by sides, entreating facial - Conception of self as dependent, helplessness,

expression, tiny same sex figure insignificant
b. Arms long and hands prominent, female figure, - Wish for protective maternal figure
male subject
c. Arms long and thin, mouth omitted - Asthmatic
d. Arms out with fist clenched - Aggressive tendencies
e. Curve linear line interrupted - Indecisive
f. Features dim with emphasis on head contour - Timidity, withdrawal
g. Figure clothed with toes exposed - Aggressive tendencies
h. Figure effeminate, tie emphasized - Homosexual trend
i. Figure miniscule, light line pressure - Construction, feeling of insignificance, lack of
worth
j. Figure micrographic with shading, erasures, - Deep repression, neurotic depression
pressures variation
k. Figures tiny, primitive - Regressed schizophrenic shrunken ego
l. Figures tiny, well-depicted features - Alcoholic, involutional senile patients
m. Full bodies with shaded or thin legs - Feeling of decline associated with advancing age
(shaded legs maybe homosexual anxiety)
n. Hat on nude figure - Regression
o. Head clearly indicated, dim line body or no body - Significant depression
p. Inability to complete drawing, marked paucity of - Significant depression
details
q. Rounded curves, small tie, male subject - Sexual inadequacy
r. Shoes shaded - Insecurity
CONTEXT INTERPRETATION
a. Clouds - Anxiety, depression
b. Doodling of subject’s name - Egotism, narcissism
c. Fence to lean on, ground line - Need for support to help

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d. Ground line
e. Strong wind in the human figure drawing
FIGURE TYPE
a. Cartoon figure, clown
b. Drawing of male first, female subject
c. Maternal figure rather than female sex object
d. Opposite sex drawn first
e. Parental figures rather than self image
f. Peanut man, snowman, stick man
g. Peanut man, stick figure in subject capable of
more advanced drawing
h. Puppet
i. Robot for male (male subject)
j. Stick figure
k. Type of person drawn
l. Witches
MULTIPLE CRITERIA
a. Bizarre features; confusion full-face and profile;
ear emphasized, emphasis on joints; failure to
recognize grotesqueness of drawing; giraffe neck;
gross disproportion; internal organs shown;
omission of arms; sexual organs indicated; primitive
figures with tiny features; unessential detail
emphasized; very faint line
b. Powerful hands; squared shoulders; weapons;
well defined teeth
c. Breaks in line; erasures; omission reinforcement,
shading
- Insecurity
- Felt subjection to strong environmental pressure,
with ear of psychosis
INTERPRETATION
- Adolescents with feelings of inadequacy or
rejection; internalized hostility; self contempt
- Female protest, feminine rejection
- Dependence on maternal figure
- Sexual role conflict
- Children; also adult preoccupied with past who are
unable to emancipate themselves from parents
- Evasion of body problems
- Exhibitionistic tendency, secretive
- Compliance, feeling of domination by others
- Depersonalization; feeling of being controlled by
outside forces
- May express evasion or negativism
- Ideal self-perception of others; self portrait
- Hostility toward women expressed overtly
INTERPRETATION
- Schizophrenic
- Aggressiveness
- Conflict area

c. Breast emphasis; buttock emphasis; effeminate - Homosexual trend

features; elaboration of clothing details; high heels
on male figure subject

d. Breast emphasis. Buckles; buttons; concave - Dependency

mouth; midline emphasis; pockets
e. Breast emphasis; buttons; fingerless hands or - Insecurity
petal fingers; midline emphasis

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f. Combination of firm, heavy and light lines; large -Assaultiveness
arms and fingers; reinforced eyes, arms, fingers and
hair; stance with legs wide apart
g. Curve lines on body of male, full lips, high heel - Effeminacy
shoes, lashes, small ankles, feet and wrist, tapering
arms and legs, all on male figure
h. Ear and eye emphasis; large grandiose figure; - Paranoid
large head; spread or talon fingers

i. Fingers without hands; foot emphasis heavy line - Machover indices differentiating assaultiveness
prominent eye; stick fingers; wide stance from non-assaultiveness subjects
j. Ground line; placating special expressions; - Insecurity
shaded shoes

k. Hand and pocket; heavy shading; large figure; - Anti-social personality

l. powerful hands; squared shoulders; weapon; well- - Aggressiveness

defined teeth

SIMPLIFICATION INTERPRETATION
a. Abstract or stick detailing - Evasion, insecurity. Self-distrustful
b. Inadequate detailing - Depression; lack of energy; withdrawal tendency
BREAST INTERPRETATION
a. Heavy shading, enlargement - Dependent, immature
b. 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
c. Small - May indicate stinginess in offering love, affection
approval to children;

- If drawn by female – may indicate rejection of

female sexuality

- May indicate feeling of rejection by mother

- May indicate fear of mature female sexuality

d. With low pendant line - Mother-dependent males who can serve “apron
strings”

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e. Emphasis on breast and pelvis - By female indicate strong seeking for productive,
dominant mother-image

- By male, indicate dependence on mother-figure

and a strong seeking for love and approval
f. High and form - Youthful female with youthful sex desires may
indicate young woman rejection of more mature
female sexuality for “boyish” “face line” equality with
men

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