ss £18) F609 OE) 6 ELE. bE E) 1. L bain information about an, dividual's personality and the Interaction of that personality with its environment. ‘The medlumole pression, Pech arel daw gota House, a Tiesanda Persone tS arelatively primitive one andis adaptable to almost any subject The HTP. is a two-phased approach to personality, The first phase is rionverbal, creaive, anc almost completely unstitcturod. nih goeond phiscs hich is verbol imperceptive, and more formally stuctured, the Post-Brawing Inter used. Here the subject is asked lo defina, desciibe, and Ilaipret Ine uraninae and € associate conceming then and theirrespective environments. This complex from of technique has come from more than ten years of clinical usage and study. n1938 subjects were being asked to draw a House, Tree, and Person because withdrawn persons tented lo respond 10 questions more freely when they ‘were drawing, It was soon found that a good indication of the person's intellectual level could be taken from these drawings. Then not long alterwards it was found that valuable information about the personality could alsa be interpreted from the same. drawings The specifi items were chosen because: (a) items were familar to almost any subject, (b) thay were more willingly accoptad for drawing by most subjects. and (c) they seemed tostimulate more free verbalization by the subject. Theory: The theory upon which tha H.1.Pisbased consists of the following twelve postulate: 1. The H.1.P. is a projective device. Although the stimui are familiar objects they are not specific, therafore, the subject must project in order to resporid to the stem - 2. Im its appraisal of the tota! personality the H.T.P measures inleligence from several standpomts, (8) elemental wormation, the specie derails of the finished structure, (b) size anid spatial relationships of details, ang (c) concept, formation as shown by organization and quaiiy of the computed wholes and the spontaneous verbalizations conceming them. = 3. Each drawn whole is to be regarded as a sell-portrait as well as the drawing of a specificar composite House, Tree, or person, 4. Each drawing is belidved to arouse conscious, subconscious, and unconscious associations, Those aroused by the House are concemed with the subject's home and those living init, Those around by the Tree are concerned with his Ife", role and ability to derive satistaction from his environment. And the person's Srouses associations concerned with interpersonal relationship, both general and specific. Ineachoftese the past, present, and fulure may be involved. 5. Any emotion exhibited by the subjact while drawing or while being questioned concerning his drawings Js presumed to represent the emotional reaction to the relationships; situations, needs or presses thal he sees or feels ara directly or symbolically represented or suggested by one more of the drawings or some part thereof, 6. A subject may indicate that a given detalt or detail complex or the method of its Scanned with CamScannerThe org gg oe Kim Ct eile) fa) Pesan. fof special significance to him. He may do this in one of two ways: (2) Positively, by exhibiting emotion before, during or after drawing a given segall Other positive ways of indicating significance are: vislaticn al the cece! date Of Grauing a given whole, unusual concern over the proceatation of o praall Shown by erasures and redrawing or tetuming to tho secemntion Upba Presentation of detail, and by frank comments conceming such details, (0) He Sm idicate significance: negatively by presenting 2 detail incompletely, Gamat CSsential details, ortie may be evasive or reluse (o comment on some jetail Inthe H-T-P details donothave tohave universal and absolute meaning. 8. Interpretation of the H-T-P must be made With great ircumspection, with great himeatt 9c the light of as complete knowledge as is possible of the subject himself, his pastand present environment, 9 [Bterpretation ofa given tem can be made accurately only aterits relations Ip to the entire configuration has been determined. the chromatic phase furnishes Gridence of his tolerarice of, conirol of and reaction to additional emotion- salar amll and at the same time when he is believed to be peculiarly ‘ulnerable thereto, 11. Comparison of the quantitative and qualitative analysis of the achromatic and chromati i 10. 12, The H.T.P drawing phase represents personality characteristics as they appear inthe effectors processes 3. . TestMaterials For Achromatic phase : . 1 Bou nage trom sheet of white paper cach page 738 in size Tho fret page is Howe atone game. data and obier data concerning the subject. The cova (house should be printed atop of the second page; the word tree ot the top of ihe third: and the word Person at the top of the horizontal axre hee thereafter the vertical axisis the tong axis, 2.> The fourpage scoring folder. 3. The four page Post-Drawing interrogation folder. 4. Se¥eral lead pencils of grade n0.2 with eraser. Pencils should be of varying degrees of sharpness bulbe sure all areof GraceNo 5, Themanual. 6. Stopwatéh -- . For Chromatic Phase: 1. Forpage from sheet as given above, 2. The fourpage scoring folder 2 The four page Post-DrawingInterragation Folder, 4 Piel or Crayola crayons in eight cofours: ree, ereen, yellow, bine, brown, black, purple and orenge. sora, ~ Scanned with CamScannerCE: CL Gf GL &: © ey aS Baw & 5. Thamanual, 6. Stopwatch 4, Administration: Achromatic Phase: Let the subject select one of tho several pencils with the type of poin he prefers, Present the subjectwith a from sheet folded so that page 2 only is visible with tha word House at the top. Then say, “I want you to draw me as good a house as you can. You can draw any kind you tike, you can erase as much as you want, itwon't count against you. Just drav as good a house as you can.” The subject must nat use drawing ald such as a quler. I must be freehand. Tell the pretesting subject that this is not a test of his ability to draw, After he has finished the hauso, tum the form page and present page 3 with word Tree at the top, then, in tum the fourth page. For the subject who does not understand the word Person, say, “Iwai you to daw me a man, woman, or child, whichever you want” Do not structure the directions more thanthat, * As soon as the last instruction for the House is given, take the Scoring Folder and on the: first page record the actual detail in sequence. First, record the time elapsing between completion of instructions and the subject's beginning to draw. Also record any pause during the drawing relating the pause to the detail sequence. Record total time for each dravwing. Record all spontaneous comments, also relating them lo the drawing sequence After the subject has completed the achromatic drawings, tell him that he can relax now, that you are going to ask him a few questions «bout what he has just drawn. Tell him yuu ‘want to be sure you understand what he has intended, and you would like him to explain what certain of the things may mean to him. Use the Post-Drawing Interrogation Folder and ‘askall the questions. : Chromatic Phase: Present the subject with another form sheet with page two only visible, with the word House atthe topo! the page. This time tell the subject to draw as good a house as he canusing any or all fo the eight crayons before him. Make no attempt to present the crayons in any. pparticular order as to colour, No pencil should! by available and the subject is not allowed to erase. In giving instructions in this phase be very careful not to say, "I want you to draw anather House. another Tree. or anather Person * The word another is taboo Ater you have completed the instructions, take another scoring Falder and record in the same way as for the achromatic phase. Wien the subject has finished the chromatic drawings there is no need forgiving another P-D-1, but there is ne reason why you shouldn't giveitif youwant to, : Scanned with CamScannerJoc uM ~~ ce) tle! ES cee py ©) eres oy Co) 5 & @ CHARACTERISTICS OF THE HOUSE-TREE-PERSON RENERAL CHARACTERISTICS FOR ALL ORAWING TECHNIQUES _ (222 are some generat hypotheses regarding variables used in projective drawing techniques: ; 4. Pressure Factors: a Unusually heavy prossure suggests: 1. Extremely tense individuals (Buck, }948; Hammer, 1969; JoUes, Machover, 1949). I 22 Organic conditions, Rossibly encephalitis or an epileptic condition (Buck, 1948; Hammer, 1971; Jolios, 1964. fachover, 1949), forceful, ambitious persons (Alschulor & Hattwick, 1947; Machover, 1964; 3. Assert 1949), 4. Aggressive and possible acting-out tendencies (Petersen, 1977), Unusually ton pressure suggests A Inadequatety agjusting individuals (Buck, 1948; Hammer, 1971; Jolles, 1964) I Stroke or Line Characteristics A Marked directional preferences: 7. Horizontal_movement emphasis rauets weakness, feartuiness, set{- fore) tendencies, or femininity (Alcchutet < Hattwick, 1947; Petersen 197) : 2 Vertical movement empnasis suggests Masculine assertiveness, Beigrnnation and possible hyperaetiviy, (lschuler & Hattwick, 1947; Petersen, 1977), Gutving line emphasis suggests a healthy fersonality, possibly suggestin __ Sistaste for the conventional (Buck, 1348; Jone 1964), 'Y suggesting : 4° Risid straight tine emphasis suggests rigid or agressive tendendes (Buck, 1948; Joties, 1964) 5. Continuous changes in direction of stroke Suggest low security feelings (Petersen, 1977; Wolll, 1946) 8. Quality ofstrokes: 1 Flim, unhesitating, determined qualty Suggests secure, persistent, ambitious Persons (Petersen, 197), » 2. ‘lati 5 : @ va«illating tendencies (Wolff, 1946), slanted ‘straight strokes have been associated With quick. decisive, asseitive persons (Alschuler& Halwick, 1947, Hammer, 1971) Scanned with CamScanner a,syoo nL OL OL, ogenggee ses & 4. Interrupted, curvilinear strokes suggest: jeri indecisive persons (Petersen, ‘Slowness; indecisive pe ( 47; Hammer. a b. Dependent, emotional tendencies (Alschuler & Hattwick, 194 1971). ; ©. Femininity and submissivencss (Alschuler & Hattwick, 1947; Machover, 1949). ©. Lengthofstrokes: Long strokes suggest controlled behavior, sometimes to point of inhibition (Aischuler & Hattwjck, 1947; Hammer, 1971). ‘Short discontinuous strokes suggest impulsive, excitable tendencies (Alschuler & Hattwick, 1947; Hammer, 1971). . Very short, circular, sketchy strokes suggest anxiety, uncertainty, depression and timidity (Buck, 1948; Hammer, 1971; Jolles, 1964). D. Shading and shaded strokes suggest anxiely (Buck, 1948; Burns & Kaufman, 1970, 1972; Hammer, 1971; Machover, 1949). ize of Drawing Unusually large drawings suggest: 1. Aggressive tendencies (Buck, 1948; Hammer, 1989; Machover, 1948). 2. Expansive, grandiose tendencies (Machover, 1949). 3. Feelings of inadequacy with compensatory defens2s (Buck, 1948; Hammer. 1969; Machover, 1949), 4. Possible hyperactive, emotional, manic conditions (DiLeo, 1973; Machover, 1949), ° B. Unusually small drawings suggest: Li Feelings of inferiority, ineffectiveness or inadequacy (Buck, 1948; Bums & ‘+ Kaufman, 1972; Hammer, 1971). Vitthutawol tendencies in restained, timid, shy persons (Alschuler & Hattwick, 1947; Buck, 1948; Hammer, 1971). 3. Feelings of insecurity (Alschuler & Hattwick, 1947; Buck, 1948; Burns & Kaufman, 1972). . Possible depressive tendencies (Machover, 1949), iad weak ego structure of low ego strength (Hammer, 1971; Machover, + 1949), Regressive tendencies (Machover, 1949), When high on page, low energy level, {ack of insight, unjustified optimism (Machover, 1949) 4, 5, IV. Placement of Drawings A. Central placement suggests: 1. Neral secure person: This is most common placement at all ages (Wolff, 2. In absolute center of page, insecurity and rigidity, especially rigidity in interpersonal relations (Buck, 1948; Jotles, 1964; Machover, 1949), Scanned with CamScanner a© tl free ce 6) 6 El 8. Placement high on page suggests: 1. High evel of aspiration: striving hardfor difficultgoats (Buck, 1948; Jolles, 1964), 2. Optimism, frequently unjustified (Machover, 1949), C. Placement low on page suggests: 1. Feelings ofinsecurity (Buck, 1948; Buns & Kaufman, 1972; Jolles, 1964). 2. Feelings of inadequacy (Buck, 1948: Bums & Kaufman, 1972; Hammer, 1963; Jolles, 1964). 3. Depressive tendencies, pethaps with defeatist atitudes (Buck, 1948; Hammer, 1971; Jolles, 1964; Machover, 1949). 7 D. Placement on edge or bottom of paper suggests: 1. Need for support associated with feelings of insecurity and low self-assurance (Buck, 1948; Bums & Kaufman, 1972; Hammer, 1971 ;Jolles, 1964). 2. Dependency tendencies and a fearofindependent action (Hammer, 197 1). 3. Tamiency to avoid new experiences or to remain absorbed in fantasy (Joltes, DRAWINGS OF HOUSES- INDIVIDUAL CHARACTERISTICS 1 Chimney A. Emphe: ” .cugh reinforcement or size suggests: 41. Over concermwith psychological warmth athome (Buck, 1948; Jofies, 1964). 2. Sexual concern about masculinity (Buck, 1948; Hammer, 1969; Jolles, 1964). 3! Concem about power. 4. Concern aboutactivating creativity. B. Omission of chimney suggests: 4. Possible passivity. 2, _ Feeling of lack of psychological warmth in home (Buck; 1948; Jollés, 1964) . i. Door A. Absence ofdoorsuggésts psychological inaccessibility (Buck, 1948; Joiles, 1964). B. Drawnlast suggests: . : 4. Interpersonal contact distasteful. 2." Shyness. C. Averylarge door suggests sccial accessibility. D. Averysmall door suggests: 4. Reluctantaccossibilly, . 2. ~ Shyness. E. Aside door suagestsescace. - 7 Scanned with CamScannerCOonneocorre © eee f gee & 7 £ £ UL. Rainspouts and Gutters: A. When emphasized and reinforced, suggest heightened detunsivenoss (Buck, 1948; Jolles, 1952) IV. Roof A. Signiticanterosshatching suggests? 1. Stongeonscience and accompanying guilt. 2. Emphasis suggests concem aver controtof fantasy (Jolles, 1964). V. Shutters . A. Achosed shutter suggests extreme withdrawal(Jollas, 1964) VL Rooms A. Ingoneral, rooms may be emphasized or deomphasizedby: 1. Drawer'sidentifcation with a particular room 2. Positive ornegative experionces associated with a room, 3. Specificsymbolismot room for drawer. B. Bathroomemphasis suggests: 1, Freud's “anal Personality,” ie., parsimonious, petulant and pedantic. Many parsimonious people sit on the loilet for long periods, unwilling or unable to give: up even their feces, 2. Emphasis oncleantiness in obsessive - compulsive puntying rituals 3. Aplace to eseape andto obtain self-mothering, i.z., long baths, etc. A hiding place. Many of those who draw overemphasized bathrooms may as children have experienced families wilh tension and fighting, and the batheaom, became aretreat, aquiet place. As adulls, they may withdrwto thes sant 8. Emphasison bedroom may suggest 1. Aretreattor depressed drawers, in which case it will ook quietand gloomy. 2. Aplace for sexual activity. 3. Aplacesar invalids. C- Dining room and kitchen emphasis may suggest a place for nurturiy Orality or dependence may be a characteristic of he drawers strong need tor affection D. _Livagroom emphases may suggesta place for socialization &— Recreationroomemphasis may suggest a placa for playing F. Werk room emphasis may suggest a workahoke. G. H. Rooms absent nay suggest unwillingness to draw room because of unpleasantness. Rotten or filthy suggest hostily towards hone or towards sell. Vil. Paper Siding A. Paper siding may suggest genpratized insecurity. Vill. Shrubs and Flowers A. Shrubs or flowers may suggast persons (dolies, 196-4) Scanned with CamScannerI che G) EL Ger eye ere rere) et Cc! 8 IX. Stained Glass A. Stained glass may suggest: 1. Guiltorbeing’stained.” 2. Spiritual questforbeauty. X. Steps and Walkways A. Steps or watlways may suggest welcoming of soci! intoraction space.” | 8. Stepsieading to blank wall suggest conflicts regarding acces C. Walkways well proportioned and easly drawn suggest contre! and tact socially (Buck, 1946; Hammer, 1969; Jolles, 1964). 0. Long walkways or steps leading to house suggest guarded accessibility. XL Walls A. Strongwalts suggest a sturdy sell. B. Thinwalis suggest: 1. Aweakself. 2 Vulnerable self. ©. Overemphasized horizontal dimension suggests 2 practicality and a need for groundednass. D. Overemphasized vertical dimension suggests an active fantasy lite. "Wel-come to my sibility. E.Crumbting walis suggest a disintegrating personality. Xil, Windows ‘Absence of windows suggests withdrawal and possible paranoid tendencias. ,ggostopenness and desire for environmental contact B, Maay window. CC. Curtained windows suggest: 1. Concern for beauty at home. 2. Reservedaccessibility. . D. Very smaltin size suggests: 1. Psychologicatinaccessibility. 2. Shyness. DRAWINGS OF TRERS INDIVIDUAL CHARACTERISTICS Animals Trees Relatively rate. Each animal has its own features ‘with which the drawer may identify. Pethaps most frequent is the squirrel, offen drawn by thase who have.a history of deprivation with subsequent hoarding behavier. Some dependent persons create a warm, protective uterine existence, placing the animalin a hcieinthe tree (Jolles, 1964), Apple Tree I synd-ome often Apples falling cr fallen indicate feetings of rejection or guit. alien angy n subsequent to. traumne such as rape (JokAs,13¢4). . se Scanned with CamScanner foPiet. p ee ee A a aas Bark 4A Broken: | difficult, stormy history. Heavily drawn: anxiety. Meticulously drawn: compulsiveness, rigidity, careful atiempts ‘ocontrolobsessions (Jolies, 1964) Branches A. General Crganized, balanced, appropriately formed branches attempt to grow in a vigorous and Ralenced way, Degroe of flexibility, size, number and tala indicates a reaching out to spetsamentte Nurturing and growth Specific . 1. Absolute symmetry in detailed manner suggests compulsive need for control - (olles, 1964). 2. Asymmetry toward house may indicate concern’, attachment to family, security. attachments. 3. Broken or cutoff branches suggest feeling of trauma or castration (Hammer, 1969; Jolles, 1964) 7 4. Dead branches may Pisconnected or broken branches may indicate a dreamer or fantasistwho does fot follow through in systematic, organized fashion ©. Branches hanging downward, especially a weeping willow, indicate tending to “be Sorry” and have thoughts moving into past Branches moving upwardindicate reaching for opportunities in environment 8. Branches that are overly large in relation to unk indicate feetings of inadequacy, with excessive stiiving logel satisfaction, fromenvironment. 10 Beonle swinging on bianichus say suggest ension in fecusingon one branch ef We at theexpenseo! others. 17. A tree house on a branch may suggest attempts t0 find protection from a. threatening environment. = 12. Tiny branches on a large trunk suggest Inability to get satisfaction from + * environment. a 13. Alree upon shill is frequently seen in matemal dependence, Occasionally is Senin upward strivings, especiallyifthe frees rugged ace large. 14. Large leaves suggest dependency associated with toclings of inagé*quacy (Gums 8 Kautinan, 1972; Burns, 1982; Jolles, 1964), 18. | Saplings indicate immaturity and aggression (Buck, 1946), ention to past usuall'¥ associated with unsure cf themse! ¥2% allen try te final 5 Gf past events qr? PeFSONS. Ustialy this A. General . Emphasis on the tree roots suggests al immaturity or “unsettied business: Pers, “who they are” by defining themseives ite “ooking backward" dininishs.¢-:ti Scanned with CamScannerEREE OPER ere: er er er cr el er tl genet Sb (yulles, 1966 1. Dead roots indicata obsossive-depressive kvelings of early ire (volles, 1964), 2. — Talon-like roots suggest persons or pla 3. Rootsofthe edge of the paper indicate lt Trunks cesheldon lo. insecurity feelings. Need for stability. A. General / gy, Glan vital, libido, life force in growth aun io reflect the age a severe ‘a diminishing vitality, Tree trunks are said to reflect feelings of en and development Traumatic indices on the trunk seem { trauma was experienced. Trunks diminishing at the lop suggest a*buming out.” . 8B. Specific . 1. Deep shading ona trunk suggests pervasive anxieties. 2. Afaintly-drawn trunk suggests passivity. 3. ‘Sears on the trunk may reflect traumatic experiences (Buck, 1946; Jolles, 1964, ). 4. Slender or very narrow trunks indicate precarious adjustment and precarious hold on tite. 5 Y indbtowmn trunks suggest pressures and tensions from environment. DRAWINGS OF PERSONS- INDIVIDUAL CHARACTERISTICS Head A. Unusually large heads suggest 1. Overvaluation of intelligence or high intellectual aspiration (Buck, 1948) que (Buch, 1948) Dissatisfaction with one's phys 3 Possible orqanicity or preoccupation with headaches (Dil.eo, 1973) 4. Possible subnormal intelligence (lMachover, 1949) S. Children normally draw proportionately larger heads than adults (Machover, 1949) + 8. Unusually smaltheads suggest. o> (To: Feelings of inadequacy orimpotency intellectually, socially or sexually (DiLeo, "7973; Jolles, 1964; Machover, 1949) /D)_-Feeings ofinferiority or weakness (Bums & Kaulman, 1872; Machover, 1942) | Hai.” . | ‘A. 1 Mairemphasison hoad, choxt, bourdor elsewhere suggests wAZ Virility striving; sexual preoccupation (Buck, 194.8; Jolles, 1964; Machover, 1949) | 2. Nobuble narcissism expressed by elaborate coifture, exceptionally vravy and gk. ‘moroushais, usually with other cosmetic emphasis. Possible psychosom= or a. thmalic condition, of narcissism as in adolescent temales, perhaps vill incline WOM toward sexuatdelinquency (Buck, 1946; ttachovar, 1948). Scanned with CamScanner— ~~ oe ew Certeer cee cherciere: eee & > Leo hae aasy ad a ' E. Hairomitted or inadequate suggests low physical vigor (Machover, 1949). Facial Features A. Omissionof facial features with rest adequately drawn suggests: ~ 1. Evasiveness and superficialtyin interpersonal elalionships (Burns & Kaufman, 1972; Machover, 1949) 2, Inadequate environmental Contact{Machover, 1949). 3. Poor prognosis in therapy; salisfactory drawings of features Suggest favorable prognesis (Machover, 1949). 8. Dimfacialfeatures suggest: 1. Withdrawal tendencies, especially when in profile (Machover 1949). 2. Timidity and self-conscjousness in interpersonal relations (Bums & Kaufman, 1972; Machover, 1949). ©. Qveremphasis and strong reinforcement of facial features suggest. Feelings of inadequacy and weaki.ess compensated by aggressive and socially dominant behavior (Machover 1949). Eyes and Eyebrows A. Unusualiylarge eyes suggest: 1, Suspiciousness ideas of reference, or olher paranoid characteristics, perhaps wilh aggressive acting-oul tendencies especially if eyes'are dark, menacing or Piercing (DiLeo, 1973; Machover, 1949), Possible anxiety, especialiyif shaded (Machaver, 1949) Hypersensitivity a social Opinion (Machover 1949) tachover 1949) Females normally make lager and mow detailed wyos than males (Machover, #9 8. Unusually smaitorclosedeyes suggest: . 1. Introversive tendencies (Machover, 1949). 2. Self-absorption; contemplative introspective tendencies (Machover, 1949). _ 3. Large orbit of eye with tiny cye suggests strong visual curiosity and guilt “ feelings, probably regarding voycuristic conflicts (Machover, 1949). : 4, Pupils omitted, so-called “Empty Eye,” suggests an introversive self-absorbed tendency in persons who are nel interested in perceiving thelr environment and who perceive it only as vague and undifferentiated (Burns & Kaufman, 1972; Machover, 1949). 5. “Picasso” eye (single eye drawndisoriented onorin the middle ofafigure's face) - indicates excessive Concem and / or vigilance in relation to-anether figure or significantother (Burns & Kaufman, 1972). CC. Eyebrows andéyelashes: 1. Considerable elaboration, especially with very trim eyebrows, may reflect a. critical attiude toward uninhibited bichavior, with tendencies toward refinement and good grooming, puihayis over-qroomig (Machover, 1949) gals Extraversive socially outgoing tendencies Scanned with CamScannerfi ae S&S oe eek © Bee) ener eel (- ind good groomin, 2. Bushy eyebrows suggest tendencies away trom reine ie fog ‘a ‘9 toward "primitive, gruff, and uninhibited” tenden 3. Raised eyebrows suggest an attitude of disdain 4. Eyelashes detailed by males suggest possib (Machover, 1949). EarandNoso . A. Largeears, strong/u reinforced or nie wed though transparent hair, suggest: 1. Possible auditory handicap and associated concem (DiLeo, 1973;|Machover, 1949). . 2. 7Sensilivity to cri~:ism (Buck, 1948; Jolles, 1964; Machover 1949). 3. Possibleideas of refererice (Bums & Kaufman, 1972; Machover, 1949). 8. Nose emphasis through pressure or size suggests: vy ‘Sexual difficulties and/or castration fears (Buck, 1948; Hammer, 1971; Jolles. 191 Machover, 19-19). 2. Feelings of sexual inadequacy*‘or impotency, especially in older males (Machover, 1949). 3. ‘Wits, nostril indicated and emphasized, aggressive tendencies, and indication ‘of association with psychosomatic asthmatic conditions (Burns & Kaufman, 1972; Machover, 1949), Mouth and Chin ‘ A. Mouth emphasis suggests: f1.) a defenses, orality (Bums & Kaufman, 1972; Jolles, 1964; Machover. - 1 ). 2. Oralemphasis in personality (DiLeo, 1973; Machover, 1949), 3. Pamilive lendencies (Machover, 1949). 4. Possible speech problems (Machover, 1949). B. Mouth omitted suggests: 1. « Possible psychosomaticrespiratory, asthmatic conditions (Machover, 1949), 2. Possible depressive conditions (Machover, 1949). . 2. Reluctance tocommunicate with olhers (Buck, 1948), ©. Miscetlaneous treatment of mouth: 1. Teeth showing, In adult drawings, suggests infantile, aggressive or sadistic tendencies (Buck, 1948; Bums & Kaufman, 1972; Machover, 1949). 2, Short heavy fine for mouth suggests strong aggressive impulses, but anticipated retatiation makes the individuatcautious (Machover, 1849). Single-tine mauths in profile suggest considerable tension (Machover, 1949). - 4. Wide, uptumed Jing effecting a grin is normal with children, tut in adults © sugges forced congenialty, and possibly inappropriate affect (Machover 1949). ‘ Cupidsbow mouth in female figures has been associated with sexually (Machover, 1949). le homosexual tendencies Scanned with CamScanneree precocious adolescont females and adult psychosomatic, asthmatic conditions (Machover, 1949), 6. Openmoutls suggest oral passivity (Machover, 1949) 7. Objects in mouth such as cigarettes, loothpicks, pipes, ate, suggest oral erotic needs (Machover, 1949), D. Chip unusually emphasized suuggosts: © Possible aggressive, dominant tendencies (Buck, 1948; Joltes, 7 Machover, 1949) i 2. Possible strong drive levels (Machover, 1949). 3. Possible compensation for feelings of weakness (Machover, 1949). Neck and Adam's Apple A. Generat considerations: 1. The neck, connecting link between head and body, has been regarded widely as the symbolic link between intellect and affect. Long necks are associated with dependency in the interpretation of human figure drawings. Most often, Interpretive hypotheses regarding the neck are based on this rationale (Burns & Kaufman, 1972; Machover, 1949). 8. Unusually short, thick necks suggest: 1. Tendencies to be gruff, stubborn, ibu!|-headedi (Machover, 1949) 2 Impulse proctivities (Machover, 1949), CC. Unusually long necks suggest: 3.” Cultured, socially stiff, even rigid, format, overly mera! persons (Machover, 1949). 2. Dependency(Bums & Kaufman, 1972) ContactFeatures: Arms, Hands, Fingers, Legs, Feet A. Auns treated unusually: Generally, te conattion of the arms and thetr placement in the drawing reflect the condition and modo of a person's physical or manual contact with his environment. 1. Stif arms at sides suggest a rigid, compulsive, inhibited personality (see also Stance Characteristics, p. 198) (Buck, 1948; Jolies, 1964; Machover, 1949) Limp arms al sides suggest a generally ineffective personally (DiLeo, 1973; Machover, 1949), : 3. Akimbo ams suggest well-developed narcissistic or “bossy” tendencies (Machover, 1949). 4, Mechanical, horizontal extension of arms al right angle to body suggest a Simple, regressed individual with shallow, affectless contact with his environment (Machover, 1949). 5 Frail, flimsy, wasied,, shunken arms suggest physical or psychological Weakness, Ieelings of inadequacy (Buck, 1948; Hammer, 1971: Jolles, 1964; Machover, 1949) & Reinlorced arms, especialy with emphasis on muscles, suggest power strivings, usually of « physical nalwe; when associated with broad shouider, 191 — Scanned with CamScannerre oud Sf 8 Be © cece) ef &) El Q 2 wD. 1, ben aft) Dt, , 5 (Burns etc., have been linked with aggressive, assaullive tendencies (Burns @ Kaufman, 1972; Jolles, 1964; Machover, 1949). sition, need tor Long, strong arms suggest acquisitive and cononmant ( auc 1948: olles Physical strength and active contact with the environment , 1948; Jolles, 1964; Machover, 1949), oo Very short arms suggest lack of ambition, absence of striving wih feetings of inadequacy (Buck, 1948; Buns & Kaulman, 1972; Jolles, 1964), isi i ith omitted hands, and extreme Omnission of arms suggest quit feelings, as with omitte , atpression, general ineffectiveness, dissatisfaction with the environment and ‘Strong withdrawal tendencies (Machover, 1949). i arms fr feels Qmission of arms in drawing the opposite sex suggests the perean rejected by members of the opposite sex, perhaps by subject's opposite-sexed Parent; occasionally reflects quilt feelings (Machover, 1947). Omission of feet suggests feclingsof instability or alack of irootst (Bums, 1982). 8. Hands . 1. 2. o 10. 1". 12, age or dim hands suggest alack of confidence in social situations, or general lackf confidence or productivity, possibly bot (Machover, 1949), Shaded hands suggest anxiety and guill feelings, usually associated with T9acsssive or masturbatory activity (Buck, 1948; Jolles, 1364; Machover, 1949), Unusually arae hands suggest aggressiveness (Bums 8 Kaufman, 1972). Hanis covering the genital region suggest autoerotic practices, and have been Toagy .” Samtings by sexually maladjusted females (Buck, 1848, Machowse 1949), ‘Swollen hands suggest inhibited impulses (Machover, 1949) Pamasian of hands is of equivocal signticance because they are the most cogently omitted feature of tuiman drawings. However, the Oneseren has bean associated with feelings of inadequacy, castration fears, ‘masturbatory Guill and organic conditions (Guck, 1948; Hammer, 1971), Hands drawn last suggest feelings of inadequacy and a reluctance to make Contact with the environment (Buck, 1948). . Fingers. The treatment of the fingers is often considered more important than re teatment ofthe hands or arms. Genetica, fingers are Gravn Color hands or ams. Fingers represent contact features in the strictest sense end obviously maybe used in a wide varity of tiendly, constructive, hostile and deci we ways. Taton-tke, daik, straight lines or spiked fingers suggest infantile, primitive, $8ig) Si tendencies (Buck, 1948; Hammer, 1974; Jolles, toon Machover, 1949) Jeaey 0 MS's Suggest aggression and rebeliousness (Buck, 1849; Machover, 1849). : Fingers without hands, common in children's drawings, suggest in aduit drawings regression and infantis agoressive, assauilive, tendencies, especially ifin single dimension with heavy pressure (Machover, 1949) Severely shaded or rein ed fers generally have been regarded as Scanned with CamScannerce Se toiré we Crerercrgrerertrcrcrer cee See eas naaasa 1s sociated with stealing er indicative of quilt feelings and usually are a masturbation (Machover, 1949), 13. Unusually large fingers suggest aggressive, a: Kaulman, 1972), : D. Legs 1. Verytong legs suggest a strong need forautonomy (BUCK, 1940; Jolles, 1964). 2. Refusal to draw legs, usually associated with refusal to dravr the figure below the waist, or ifoniy a very few skolchy lines aro used, suagests an acute sexual disturbance or pathological canstriction (giles, 1964; Machover, 1949) E. Foot 4. Elongated feat have been associated with strong security needs and possible castration fears (Buck, 1948; Bums & Kaulman; 1972; Hammer, 1971; Jolles, 1964). ‘Small, especially tiny feet have been associalcd with insecurity, constriction, dependence and various psychosomatic condilions (Buck, 1948; Jolles, 1964; Machover, 1949). 3. Resistance to drawing feet suagosts depressed tendencies, discouragement, frequently scen in drawings of physically withdrawn, including bedridder patients (Machover, 1949). 4. Lackoffeetis common in runaways (Bums & Kauiman, 1972). saultive tendencies (Bums & 2. Stance Characteristics A. Wide stance suggests: 1. Agatessive defiance and/cr insecurity (Buck, 1948; Jotles, 1964; Machover, 1949) 2. Especially when figure is in middle of page, ayyressiveness, even assau aggressiveness, sometimes counteracted by insecurity and manifested by feet hat ave tiny, shaded, reinforend, ar perhaps drawn by hyhl pr consistent use of ground lines (Machover, 1949). When fegs float into space and tho whole figure slants, severe insecurity and dependency, asin chronic alcoholism (DiLea, 1973; Machover, 1949) When the brie fades out wilh a drawing as described in interpretation 2 above,~ this may suggest hysteria, psychopathy or hysterical psychopathy (Machover, » 1949), . Other Parts of Body (Trunk, Shoulders, Breasts, Waistline, Hips, Buttocks, Joints, Etc.) ive General considerations ; Characteristically, tie body has been associated with basic drives. The development of drives and activily potentials, growth and decline, ‘and attiludes related to these conditions may be indicated by one's tealment of the trunk, Consequently, treatment of the trunk is more changeable with age. Frequently the trunk Is drawn as a relatively simple, more of less rectangular (a oval’ shape, * Deviations from this must be considered unusual. Trunk treated unustraly: 1. Rounded trunks ‘suggest a passive, loss aggressive, relatively feminine, or perhaps infantile, eegressive personality (Machover, 1949; Petersen, 1977) A Scanned with CamScanneraoe Ele) personality (Mach-over, 1949; a relatively masculine 2. Angular figures suggest Petersen, 197). ; aps oferta 3, Disproportionately small trunks suggest? denialof drives, feelings ty, “— orboth (Buck, 1948). ; ; tion (Machover, 4. Reluctance to close bottom of unk suggests sexual preoccuPa ( 1949). . : ‘tment of shoulders is considered an: I Shoulders treated unusually: Generally, the tre expression of feelings of need for physical power. : toss: ‘Squared shoulders suggest aggressive, hostile tendencies (Buck, i; Hammer, 19.71; Jolles, 1964). 8; Jolles, 1964). 2. Tiny shoulders suggest inferiority feelings (Buck, 194 in drawing shoulders suggest drive for 3. Erasure, reinforcement, or uncertainties i re ive for body development; masculinityis a basic preoccupation. These signs are foun in drawings of psychosomatic, hypertense patients (Machover, 1949). 4. In males, massive shoulders suggest aggressive tendencies or sexual ambivalence, often with a compensatory reaction, as in in-secure IndMduals and adolescents (Hammer, 1971; Machover, 1949). Unusually large breasts drawn by males suggest probable sang oral and dependency needs (Machover, 1949). Underctothed or nude figures suggest: Infantile, sexvaily maladjusting personalities, as with overclothing (Machover, 1. 1 2. Voyeuristic tendencies (Machover, 1949) 3. Evhibitionistictondencies (Machover, 1949). Clothes too big for figure suggast feelings of inadequacy and self-disdain (Buck, 1949, Hurnuct, 197 1) Transparent clothing suggests voyeuristic and/or exhibitionistic. tendencies Tigneparent fonistic tendencies Buttorremphasis suggests: 1. Dependent, infantile, inadequate personality (Bums & Kautman, 1972: : 1964; Machover, 1949). "1972; Joltes, Regression, particularly when drawn mechanically do 1948; Jolies, 1964; Machover, 1949). Y Gown the middle (Buck, 3. Onculfs, adds an obsessive tone to the dependency (Machover, 1949). Pocket emphasis suggests: 1. _ Infantile, dependent mate personality (Machover, 1949) 2. Affectiona! or maternal, deprivation, which oft i .__ procivities (Machover, 1949). en contributes to psychopathic 3. Large pockets emphasized, adolescent viriily. sti i ie emelonaldepondenceonmatner(Machoven, 1349) 3° with confict invelving Tie emphasis suggests. 1. Feelings of sexual inadequac it “Y, ESPeciall est years old Buck, 1940; oles, 1964; Machover taqgy nor Ad MeN ever 2 Scanned with CamScannertt CG) creererer cree me a ef aa 2 ye 2. Tiny, uncertainly drawn, or debililated ties suggest despairing awareness Of weak sexuality (Machover, 1949). 3. Long and conspicuous ties suggest sexual aggressiveness, perhaps overcompensating for fear of impotence (Machover, 1949). K. ‘Shoe emphasis suggests: 1. Large shoe suggests need for stability (Burns & Kaufman, 1972). 2. With overdetalling of shoes, laces, ete., obsessive and dislincly feminine characteristics, most commonly olfserved in pubescent gitls (Machover, 1949). Miscellaneous Drawing Characteristics of Persons A. Body part’ “cut off or occluded by another object suggests: 1.> Denial or repression of the occluded area and an inability to “think” about these areas (Burns & Kaufman, 1970), With boys, fears of castration in competition with father, elder brothers (Bums & Kaufman, 1970). Found in significantly more drawings of emotionally disturbed vs. emotionally adjusted boys (Bums & Kaufman, 1972; Meyers, 1978). B, Culling off the head suggests concems or dealings with issues of control (Bums & Kaufman, 1972). ©. Crossing out and redrawing of an entire figure suggests individual's true feelings or idealized footings foward this porson (or onesell, f drawing is of self) (Bums & Kaufaien, 1970) D. Excessive erasure suggests: 1. Uncertainty, indecisiveness, 2. Dissatisfaction with self{Hammer, 1971} 3. Possible anxiety (Machover, 1948) astlessness (Hammer, 1971; Mach-over, 1949). E, Inclusion ofextra figures suggests: ‘ 1, Disruptive influence protruding nto the family (Reynolds, 1978) 2. Claseness withinthe extended family(Reynolds, 1976). FE F> Rotated figures may indicate: * . - 1. Feelings of disorientation (Burns & Kaufman, 1972). 2. Feelings of being different with respect to others (Bums & Kaulman, 1972) 3. Need orattention (Burns & Kaulman, 1972). + 4:-> Association with feelings of rejection (Reynolds, 1978). 5. Neurological dysfunction (Reynolds, 1978). 5. Found more often in emotionally disturbed vs. emotionally adjusted boys (Burns « &Kaulman, 1972;Meyers, 1978). * G. Shading orerasshatching (scribbling or “blacking out"of af shad Staingore ing ing figure) orhoavy shading (au 1. Found significantly more often in emotionally disturbed boys vs. emotion jistuct - ail adjusted boys (Buns & Kavtman, 1972; Meyers, 1978). rene a Scanned with CamScanner C "© es we ce H, t. C0) @) ei ble! 5 (Meyers, 1978). 2. Found significantly less often in younger vs. older boy’ “ ‘ove 3. Olten-used style by middia-class adolescents (Thompson, 1979), Shading of specific body parts suggasts? . 72). 1. Preoccupation with the body part blackened (Bums & Kaufman, ae 1s lat body part . Mn the body part blackened ar issues aroune Seen ase ie ead tzbacsened km he walidown) urns, 1982; Bums & Kaufman, 1970). General shading indicates: 1. Possible depression (Bums & Katifman, 1970). 2, Identification of significanily Interacting individuals in a particular family dynamic (Bums, 1962; Bums & Kaufman, 1972). 3. Attempts to control ordeny an impulse (Burns & Kaufman, 1972) ‘Shading an individual or objoct suggosts preoccupation and/or anxiety with, Inhibition fowards oF fxationon tha porsonorobjectinvolved (Reynolds, 1978). Stick figures (whore allfigures are drawn as stick figures) suggest: 1. Defensive or resistant reaction to the test selling, especialy wnen whole drawings are completed upon request (Bums & Kaufman, 1972; Reynolds, 1978), 2, LowlQ(Reynolds, 1978). 3. Minimal cooperation, suggesting negativism (Hammer, 1971) Strut js..s0n suggests emotional deprivation. Transparencies inlicate 1, Showing parts of body through the clothing suggests voyeunstic tendencies in fadutts, though may ba normatin children (Machover, 1949) Organic probiems (DiLeo, 1973), Distortions of wally; poor, often tenuous reality lésting (Reynolds, 1978), For older children and adolescents possible psychosis, thought pattern dista7bances (Reynolds, 1968). 7 = 5. LowlQ (Reynolds, 1978), Sen Scanned with CamScannerPa. ee ee, t POE OOO 0 0 6-0-0 -o-eer creer eer) oe! F $ ALRwNPRAMHAPAR ADA aAAHHAODES 4 HOUSE - TREE - PERSON (NTP) Legend: TypeotQuestions: R=Realily _A=Association ——-P=Prassure Nome: \ Da SC__examine,_— Pt. \staiaman oY woman orboy arain? al ®) P2. Howoldishe? \L (®) P32. Whois he? “” P4, Ishearelation,aliend,orwhat? w ot J (ay we (A) PS. \Wtomwere youthinkingaboutwhile you were sawing ? < wey (c PG, Whatishe doing? (and where is he doing it?) ‘ted toda hee sein j 7. Whatishe thinking about 745 make con foat fore dln ent > (Pa! | PB, Howdoeshotee!?- ib.ic-trn but we Why 7." (P) ny iy i oltidbspt 4 don 1, po. nai coceebipaaniiake A nkal or emindyouer’? Furey Oa rr a (a (Par) APT aD ove P10, Whatclse? PAt. fsthalpersonwell? (761 P12. Waals there about him thatgives you thal impression ? bee gasts P19, Isthatpersonhappy ? eh pry PHBL P14, Whalis there about him thatgives you that impression ? ‘ey P15, Aremastpeopiethatway? |! (Py Why? ) P16. Sejapinkyornedtae aloe igs a Woy? aca Che te Fiat (P&A) PIT. Waatistheweatherikein hispicure?(Timeotday and year shy: temperature) (PY P18. Whomdoes that person remind you ol? “ . Why? (aap) P19, Whal does that person need most ? “Jute vibe (P) i Why?) Heralds Pees ated oh () - 20, What kind of eloghing does this person haven ? (R) TH, Whatkindottreeisthat? @ tA Hi prove ve bey fier L T2. Whereisthattreeactuallylocated ? int 2h The beelc Cre) Gruss pyre se 13. Abouthowoldisthattree? VO BEE Le ‘rary T4, Isthattreealive? ‘(7 (R&P) TS. 1. (lf'subject says that to trea salve} bane tl fy (2) Whatisthereaboutthaticee thal gives youtheimpressionthali'salve? (Aya {b) Isanypartotthetreedead? > What part? Scanned with CamScannerBoerne emer el a) fe oN (c) Whatdoyouthink causedittadie? (Py (2) Howlonghasitbeen dead? () —____ 4 (subject says thatthe treeis dead) (4) Whatdoyouthinkcauseditto die? ) (©) Howtong hasitbeen dead? (P) 6. Which does nattree took more fic loyou: aman orwoman? Yrger (A) ey v7. Whats there aboutitthat gives that you thatimpresion beaut LU eenvewongg ty Te. polvieroapersoninstadota Tee, which way'woutdtha parson tag b} vfs 78. 'sthattreabyitseltorisitina groupottroes? {Ite 4 THO. AS you look at that ree, do you get the impression that tis above you, below you: or about on alevel with you? foe weet " (R) TH. Whatis the weathertikeinthis picture? crime afdby arayear ‘sky temperature (PAR) 712, Isinere anywind bellowing inthis picture? 1 713. Show me inwhatdirectionitis blowing — (R) T14. Whatsortofwind isit?~ fe) T15. Whatdees that teomake you thinkot, orremind youot 2k Jenga! fad HG vt T16. Whatelse? ed ine td, 34h TIT. bstaheatmytree 216.3 nica i 118. Whatts dereaboutit that gives you that impression? ' 4 eye 719. Isitastrong vee? Y<.4 2 arte © 720, Whatis there avout it tnatgwesyouthatimpression? &-Z 4 nse uy dees () 121. Whom dowsthat tenremind yo oil 18 o> w) Why? Say Be Cu ANEA Ss coi 722, Whatdoes that reencedmost? why? Syw.t 10 rl hes Ce eee (B) , vl y ‘ 723. I this were aperson instead ofabird (oranother i’, eonything elsehols partotthe ‘riginally draven tree), wha mightitbe? ‘a HI, Howmany stories does thathousehave? Iht.ee y Vibe tier fin py eee H2. Whatis thathousemadeal? ceri esl x WH eporaalby hic Gay 3. Isthat your own house? fi! ' a) Ha. Swhose house were you thinking aboutwhiteyou were drawing ? tye sine Be HS. Would youtike to own that house yoursalt? yf. Aer Sey Why? bY Gieaa (1 yor perth (P) HG. "youcid own that house and you could do whstever yout ked with it a. Which room would you take for your ova? UE firey P) Why + Me ed Ly esl . Scanned with CamScannera i i nd 6) O20) C0) Cre) eet! ee! ae eee b Whom ‘would you like to have live in that house with you? Why? becouse Dhue 7 my fom + (P) H?. Asyoulookatthathouse, deesit seem lobe cldsebyorfaraway? Clea” b49(R) H®. As you look at that house, do get the impression that itis above you, below you, or aboutonalevel with you?’ a fyra.e (R) Hg. hal doos that house make you think of, or remind you of? favhne 07 ers tse (ay H10. What else? HII. Isthat ahappy, fionaly sortofhouse 2° jo i (AaP) . ay 1112, Whats there aboutitthatgives you that impression? Letuwe aul han Jlewerey /t H13. Aremosthouse thatway 2 Sowa AW Nbeen, ges ) a, Why doyoulhinkso? MOE Yiw/oy. Rd We tale abd rds ° “H14. Whatis the weather fikein this picture? lt {* ‘ brine etday and yoar; sky, tomperaure) eo, 118. Whom does that hoyse make you think of? ee tae a) Wry? YS Bue | She (tos 6 [yeas Ne thats (agp) 1G. Whatdoes thathouse need most? ero doyle [exe (P) "s svt Mesena, beegner 2 1h Woy? COPE OTT Jeers ep te ee NB. At this pomt induce the subject to draw sun and grouindclin’ in each arawhig' ‘hich he hasrot ahwadyproduced thom epontanceccn Hi7- I this were a person instead of a trae (ére stub, ora windmill or any other abject not apart oftiehiouse tse). wino mightiine > a POUSE {inte space below the examiner wilrecord tho plan of aach ooroftne dren, Reuse, mating tha location ad typo as Inn foc, alee ae the customary occupantottiatroomifany SUPPLEMENTARY QUESTIONS {fhe examiner wil exord below the subiec's answers foquostonsaskedin on atempt to ascertain tno possiie signees of, tho absence of extantol cetale: here Sr tual bizarre dais: any unusual proportional, spatial, or positional relationships.) ‘ {trevor fend Tit fei og pewter leery SBE Nats, a a "males The ren v eset od feaures at A - Scanned with CamScanner