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Draw A Person Test Interpretation

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DRAW A PERSON TEST

I. WHAT IS DRAW A PERSON TEST


The Draw-A-Person test is a projective drawing task that is often utilized in psychological assessments
of children. Although there are a number of variations, an individual is typically asked to draw a picture of a
person. Results are analyzed to develop hypotheses about the subject's cognitive, developmental, and emotional
functioning, as well as personality style. Draw-A-Person is a test which aims to help clinicians identify the
individual’s personality. The test relates to the impulses, anxieties, conflicts and compensation characteristics of
an individual. Moreover, the test is an expression of the self’s concept, the ideal self and his attitudes and feelings
of the body when drawn symbolized feelings, needs, attitudes and emotional maturity.

II. HISTORY OF DRAW-A-PERSON TEST


The official beginning of when figure drawing was first thought to be associated with personality is
unknown. Whether it was the drawing on a cave wall, a painting by a great artist, or a doodle made by an average
person, the curiosity somehow came about. However, the formal beginning of its use for psychological
assessment is known to begin with Florence Goodenough, a child psychologist, in 1926 (Scott, 1981).
Goodenough first became interested in figure drawing when she wanted to find a way to supplement the
Stanford-Binet intelligence test with a nonverbal measure. The test was developed to assess maturity in young
people. She concluded that the amount of detail involved in a child’s drawing could be used as an effective tool.
This led to the development of the first official assessment using figure drawing with her development of the
Draw-A-Man test. Over the years, the test has been revised many times with added measures for assessing
intelligence (Weiner & Greene, 2008). Harris later revised the test including drawings of a woman and of
themselves. Now considered the Goodenough-Harris Test it has guidelines for assessing children from ages 6
to 17 (Scott, 1981).
In 1949, Karen Machover developed the first measure of figure drawing as a personality assessment with
the Draw-A-Person Test (Machover, 1949). Machover did a lot of work with disturbed adolescents and adults
and used the test to assess people of all ages. She wrote a book on her measure expressing that the features
of the figures drawn reflect underlying attitudes, concerns, and personality traits. In her test, she included a
suggestion to ask about the person they have drawn. She advises to ask them to tell the administrator a story
about the figure as if they were in a novel or play. Machover used a qualitative approach in her interpretation
considering individual drawing characteristics (Machover, 1949). Others have since suggested a more
quantitative approach that can be more widely used analyzing selected characteristics that are in an index of
deeper meanings (Murstein, 1965).
The most popular quantitative approach was developed by Elizabeth Koppitz. Elizabeth Koppitz
developed a measure of assessment that has a list of emotional indicators including size of figures, omission of
body parts, and some “special features”. The total number of the indicators is simply added up to provide a
number that represents the likeliness of disturbance (Murstein, 1965).
The results are based on a psychodynamic interpretation of the details of the drawing, such as the size,
shape and complexity of the facial features, clothing and background of the figure. As with other projective tests,
the approach has very little demonstrated validity and there is evidence that therapists may attribute pathology
to individuals who are merely poor artists.

Advantages:
• Easy to administer (only about 20-30 minutes plus 10 minutes of inquiry
• Helps people who have anxieties taking tests (no strict format)
• Can assess people with communication problems
• Relatively culture free
• Allow for self administration
Disadvantages:
• Restricted amount of hypotheses can be developed
• Relatively non-verbal, but may have some problems during inquiry
• Little research backing
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III. MATERIALS
▪ 8 ½ x 11 white paper (short bond paper or letter size paper)
▪ No. 2 black lead pencil and eraser
▪ Coloring materials

IV. INTERPRETATION
1. Pressure Factors
A. Usually heavy pressures suggest:
• Extremely tense individuals
• Assertive, forceful, ambitious persons
• Aggressive and possible acting out tendencies

B. Usually light pressures suggest:


• Inadequately adjusting individuals
• Hesitant, indecisive, timid, fearful, insecure individuals
• Low energy levels

2. Stroke or Line Characteristics


A. Marked directional preferences:
• Horizontal movement – weakness, fearfulness, self protective tendencies, or femininity.
• Vertical Movement – suggests masculine assertiveness, determination, and possible hyperactivity.
• Curving Lines – healthy personality, possibly suggesting distaste for conventional.
• Rigid straight line – rigid or aggressive tendencies
• Continuous changes in direction of stroke - low security feelings.

B. Quality of stroke:
• Firm, unhesitating, determined quality -secure, persistent, and ambitious.
• Vacillating direction, vague lines and interrupted strokes – insecurity, vacillating tendencies.
• Uninterrupted straight strokes – quick, decisive, assertive persons.
• Interrupted, curvilinear strokes – slowness, indecisive; dependent, emotional tendencies, femininity and
submissiveness.

C. Length of stroke:
• Long strokes – suggest controlled behavior, sometimes to point of inhibition.
• Short discontinuous strokes – impulsive, excitable tendencies.
• Very short, circular, sketchy – anxiety, uncertainty, depression, and timidity.

D. Shading
• In chest figure- sensitive to physical inferiority.
• In breast of female figure (if subject is male)- secretive, inhibited sexual concern same as when there
are female subtle line in skin, around genital area-also mother dependency.
• Boundaries of clothing- conflict with regards to body.
• Sexual Area of female figure- sexually sadistic male.

E. Graphology
• Thick and heavy lines- chronic, schizoid alcoholics, depersonalization, fear or withdrawal trends.
• Dim line- timid, self-affecting, uncertain, energy level is low because of physical and physical reasons.
• Fading in/out of the line with spotty reinforcement- hysterical with amnestic reaction to their difficulties.
• Lines traced and redrawn to correct proportion- comprehensiveness and orderliness.
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• Firm lines- individual with great deal and ambition.


• Full view, hand heavy & reinforced, facial features sketched duly- wish for social consciousness in actual
social depression.
• Fussy, broken or tremulous line with light pressure- schizophrenic, alcoholic

3. Size of Drawing
A. Usually large drawings suggest:
• Aggressive tendencies
• Expansive, grandiose tendencies
• Feelings of inadequacy with compensatory defenses
• Possible hyperactive

B. Usually Small suggests:


• Feelings of inferiority, ineffectiveness or inadequacy
• Withdrawal tendencies in restrained, timid, shy, persons.
•Feelings of insecurity
• Possible depressive tendencies.
• Possible weak ego structure or low ego strength.
• Regressive tendencies
• When high on page – low energy level, lack of insight, unjustified optimism.

4. Placement of drawings
A. Central placement suggests:
• Normal, secure: The most common placement at all ages.
• In absolute center of the page – insecurity and rigidity, especially in interpersonal relations.
B. Placement high on page suggests:
• High level of aspiration: striving hard for difficult goals
• Optimism, frequently unjustified.
C. Placement low on page suggests:
• Feelings of insecurity
• Feelings of inadequacy
• Depressive tendencies, perhaps with defeatist attitudes.
D. Placement on edge or bottom of paper suggests:
• Need for support associated with feelings of insecurity and low self-assurance.
• Dependency tendencies and a fear of independent action
• Tendency to avoid new experiences or to remain absorbed in fantasy.

5. Action or Movement
A. Drawing seated or reclining individual- low energy level, lack of drive, emotional exhaustion.
B. Drawing suggestive of much activity or considerable movement- strong impulse toward motor activity,
restlessness, reduces a man of action, hypermanic.
C. Drawing with clear impulse to move but blocked by statics, artistic or introversive features- schizoid or
schizophrenics whose strivings toward accomplishments for power are strong but fantasy bound.

6. Profile
A. Full, inclined head to body to extremities- evasion of reality or conflict.
B. Silhouette- depersonalization on.
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C. Back view- withdrawn from reality.


D. Outline only- total withdrawal.

Four Major Areas


1. Head
2. Hands, Arms, Shoulders, Chest
3. Trunk of the Body
4. Legs and Feet

1. Head
A. Head emphasis is generally given by depressed and socially withdrawn.
Big head- depressed
Without eyes, nose, mouth- socially withdrawn
B. Disproportionately small head with a big body- Obsessive-compulsive.
C. Drawing ape- likes physical power.
D. Disproportionately large heads drawn by
1. Those suffering from an organic disease involving the brain.
2. Youngster with emotional and social maladjustments.
3. Mental defectives- disability of normal intelligence.
4. Paranoid, narcissistic, righteous vain ( expression of inflated ego)
5. Those who have been subjected to brain surgery.
6. Socially responsive, expansive
7. Intellectually bright
8. Schizophrenic (poor reality testing)
E. Drawing the head last- disturbance in the interpersonal relationships.
F. Tiny heads
• With lollipop- immaturity
• With big body- intellectual capacity
• If body is not well-defined- brain damage
G. Fragmented, looks like a robot- lack of control of impulses, denial about guilt.
H. Flat, shaded- fear of castration or rejection
I. No frailties, just plain head- depersonalization given by schizophrenic paranoid.

Neck (connect body impulse and intellect)


A. No neck- no control of body impulses, regressed individual
B. Line to indicate neck- weakening of intellectual control over body impulses
C. Neck slashed- suicidal tendency
D. Long and narrow- inadequacy
E. Short neck- impulsive behaviour rather intellectual

Eyes
A. One eye big, the other is small- weakening of personality, strength, disintegration.
B. Furtive and suspicious- conveys idea of reference.
C. Piercing- aggressive social tool.
D. Large, dark, menacing- hostility and repression, paranoid. Generally females make larger and
elaborative eyes.
E. Male figure, large eyes with lashes- homosexually inclined
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F. Small eye- voyeur, fearful hostile feelings.


G. Small eye- Narcissistic
H. Well-shaded with cosmetic (for Male) –feminine tendencies, sexually oriented, self-absorbed,
artistic.
I. Dot eye- brain damage, withdrawal tendency.
J. Hollow- reluctance to interest.
K. With dark glasses- paranoid
L. With glasses- elements of ambiguousness
M. Emphasis on pupil and eye lashes- paranoid
N. Side view- evasive, suspicious
O. Unseeing eyes- emotionally immature and ego centric
P. Empty eyes (repeating small circled for eyes, nose, mouth, buttons, on figure) – childish,
regressed adult, low grade, defective, dependence, shallow emotionality, lack of
discrimination.
Q. Closed eyes- evasion of reality.

Eyebrow
A. Trim- socialistreootype, reflecting grooming and refinement, critical toward self- expression.
B. Bushy- primitive, gruff, uninhibited personality

Nose
A. Long- sexual virility
B. Standing or cutting off- sexually uncertain on inadequate castration fear.
C. Shaded, crossed out- castrated but no anxiety about it.
D. Reinforced- direct compensation for inadequate sexuality.
E. Omission- regressed adult, immaturity among children, defective capacity to deal rationally
is lacking and coordinates response with adjustive behavior.
F. Long and thin- schizoid, physically inferior, psychosexually infantile, suffers from body
weakness in which they express in a compensatory drive for physical power and aggression.
G. Over extended- striving for sexual virility.
H. Hooked, flared- expression of rejection and contempt.
I. Upturned- schizoid, withdrawn, intra-tensive, fantasy prone individual.

Lips
A. Full lips (male figure) – efficacy indication, toppish and narcissistic interest.
B. Elaborate cupid bow (combined with heavy cosmetized features) – sexually precautions.
C. With toothpick or straw- individual has history of oral erotism.
D. With cigarette- manifest sexual symbol and when given particular emphasis and made active
usually represents acute sexual preoccupation.

Mouth
A. Overemphasis- food faddism, temper tantrums, oral aggression and social conflict.
B. Detailing with teeth- infantile oral aggression, simple schizophrenic and hysteric.
C. Detailing the tongue- intensified oral concentration a primitive erotic.
D. Concave and orally receptive mouth- infantile, dependent individual whose dependency is
manifested also in undue emphasis, passive to receive nourishment.
E. Well painted/ well shaped- sexual conflict.
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F. Heavy lined lips- verbally aggressive, over critical and sadistic.


G. Single line mouth- individual with active fellastic experience, perverted sexual relationship.
H. Jagged- more sexual conflict than oral aggression
I. Wide upturned lines (as grinning clown) - forced congeniality, an effort to ruin approval or
even inappropriate effect depending upon other aspect of drawing.
Ears
A. Large and well emphasized- paranoid with guarded suspiciousness and destruct,
homosexually conflicted individual, sensitivity, auditory hallucinations.
B. Not balance- individual’s personality is distinguished, pathological psychosis or brain
damage.
C. Not drawn or seen- refuses to hear, withdrawal from a reality, desire to hear as little as
possible, shunning from criticism.
D. No ears- low intelligence

Chin
A. Full of view (make emphasis on chin)
Overemphasis- need for social dominance
Underemphasis- socially inept or inadequate

Hair (sexual symbol)


A. Messy and profuse- sexual disorderliness, precise and careful coiffure
B. Hairy on jaws (moustache or beard) virility conflict.
C. Hairy female- sexually passionate
D. Glamorous cascading hair combined with other cosmetic details- glamorous aspiration
E. Long and not filled- confusion and ambivalence
F. Great deal of care given to the hair- narcissistic or homosexual
G. Trim and barren hairdo- traditional spinster.

2. Hands, Arms, Shoulders, and Chest


-The functional unit to execute the commands of the brain or the impulses of the body.
-Things you need to check: Arms, hands, fingers, shoulders and breasts,
Arms and hand
A. Hands drawn out or faded into vagueness or to be dimmed out- lack of self-confidence in
social contact, in productivity or both.
B. Shaded vigorously- guilt with regards to aggressiveness impulses or masturbatory activity.
C. In pockets- expression of evasiveness, masturbation
D. Omission- positive withdrawal from people and things (male S), If drawn from female figure,
felt rejected by mother and in turn felt alienated from and unacceptable to contemporary
female.
E. Very long arms- ambition of either from an accomplishment or for an acquisition.
F. Freezing of arms at genital area- preoccupied with anti-erotic practices.
G. Wing-like- fantasy
H. Very short arms- lack of ambition
I. Arms moving away from the body- aggressiveness
J. Without hands- infantile regression
K. Arms toward the body- aggressiveness turn inward
L. Folded in the breast- defensive or guarded
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M. Arms cut-off or omitted- castration anxiety


N. Arms relaxed- good adjustment
O. Arms cover a part of the body-conflict with regards to covered areas.
P. Arm tied- subject feels tense about environment, tries to contact, over rigidity.

Fingers
A. Fetal or grape (like short or rounded)- poor manual skill and infatility, weak personality,
dependent.
B. Severely shaded or reinforced- staling and masturbatory activity.
C. Square, spike-like- suggestion of over aggression.
D. Clenched fists (arms away from the body)- rebelliousness
E. Pressed toward the body- direction of inner aggression and repressed in symptoms rather
than behaviour.
F. Mitten type- repressed aggressiveness but more evasive and repressed
G. Very long finger- shallow, flat, simple type of personality in adults,
H. More than five fingers- low mental functions, distortions may have pathological significance.
I. With joint and nails- obsessive control of aggression, compulsiveness, repressed aggression,
hostility.
J. Fanned like claw- aggression
K. Fingers cut off- masturbating guilt.

Breast
A. Emphasis in nude drawing- sexual conflict
B. No breast- sexual conflict aloof affectional needs.
C. Chest hairy- compensation for sexual impotence
D. Extremely large and carefully drawn breasts- infantile individual with strong oral dependency.
E. Shading in breasts by male subject- mother dependence
F. Biff, protruding- identification by domination mother

Shoulders
A. Massive- sexually ambivalent as an over compensation for the feeling of inadequacy.
B. Marked by erasures, reinforced uncertainties drive of the body developments as expression
of masculinity is basic preoccupation.
C. Exaggerated shoulder in the male figures- expression of the subject’s own insecurity with
respect to masculinity.
D. Square and massive- resistive to others, striving to masculinity
E. Narrow- inadequate feeling of security.

3. Trunk of the body


- It indicates strength features.

Trunk
A. Round- less aggressive, more undeveloped, more feminine
B. Reluctance to close trunk where buttons are given- sexual preoccupation
C. Thin- discontent with body type possessed by subject
D. Crude emphasis- infantile, narcissistic (among older subject, approaching in volitional
decline)
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Waistline
A. Extremely high waistline- adds evidence to sexual problem that are immediate and pressing.
B. Reinforced by broken lines- irritable and fairly direct expression of the tension in the problems
of zonTing the body.
C. Elaborate belt- tendency of covering tension into erotic and self-display of fairness.

Joints
A. Faulty, uncertain sense of body integrity- dependence, psycho-sexual immaturity.
B. Elbow joints and other osteolatory region are delineated- subject is either compulsive or he
is dependent.

Anatomical indications (common among schizophrenics and actively manic patients with somatic
dimensions)
A. Transparencies of legs (male)- homosexual panic
B. Transparencies of legs (female) - furtive sexual fantasy or sets of dejected character in male
subjects.
C. Inclusion of sexual organ- schizophrenics
D. Internal organs showing through a figure, confusion of profile and full view of the head-
psychotics

Clothing
A. With the preliminary inquiry as to whether he should have a figure with clothing- troubled with
a strong sense of body self-consciousness.
B. Over-clothed- narcissimist, clothes as means of social and sexual enticement.
C. Under-clothed- body narcissist, frank display of muscles
D. Conspicuous button shading, add relevant placement- dependent, infantile, and inadequate
person.
E. Pockets- expression of irritability striving with emotional conflict to emotional dependence
upon mother.
Pocket in the breast- indicator of oral and affectional deprivation usually found in the infantile,
dependent person.
F. Tie- sexual symbol
G. Emphasis of clothing- sexually inadequate, social consciousness.
H. Uncertain, tiny dilapidated- awareness of sexual weakness.
I. Flying away from the body- over sexual aggression, in terms of sexual preoccupation.
J. Obsessive detailing- feminine characteristics
K. Hat (especially decorated) consciously large with hair on the forehead showing through it-
symptomatic of primitive sexual behavior.
L. Transparency- exhibitionism, schizophrenic (poor reality testing)
M. Nudes- frequently seen among art students, individualistic, egocentric
N. Ties-Symbols of sexual inadequacy
O. Belt- demarcates the sexual area
P. Fancy buckle- socialized the dependency inferred from emphasis on the navel.
4. Legs and Feet
-It indicates autonomy, self-movement, self direction, balance.
A. Full body with tiny, shaky legs- indication of feelings of decline
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B. Shading or delineation (dimensional through transparent parts)- homosexual, panic sexual


disturbance
C. Hostile and hussy figure of legs with twisted perspective (masculine and muscular) -
narcissistic and psychosexually immature.
D. Feet with phallic likeness- sexual inadequacy and preoccupation
E. Erasure, lightening, shortening, change of line, shading- sexual implications.
F. Display with trend of painting toe nails in opened shoes- incomplete feminine aggression.
G. Long legs- need for autonomy
H. Walking legs- relaxed, good adjustments
I. Running legs- escape from reality
J. Cut off legs- fear of responsibility
K. Large feet- maladjusted in social area
L. Tip toe- tense hold on reality, rigidity of postural model
M. Ground like feet- secure to reality
N. Feet on top of the ground line- fantasy, schizophrenic
O. Legs closely pressed together (figure shaded) - tense, self-conscious, awkward and
apprehensive neurotics.
P. Legs apart- chronic alcoholic

Stance
A. Legs pressed closely together (figure shade)- tense, self-conscious, awkward and
apprehensive, neurotic when that is extreme in female figure (subject is female)- fear of
sexual attack. (Subject is male)-anticipation of resistance to fantasies attack.
B. Tight stance combined with arms pressed tightly to body as if toward of the blow of
environment- paranoid and schizoid
C. Wide apart legs- insecurity of footing expressed in tiny painted or shaded reinforced first by
ground line or hesitant to paint line throughout.

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