CHAPTER 5

DRAWING TASKS

by Hugh M. Lewis

There was a great deal of resistance to drawing tasks, especially by the adults. It was very difficult to get any adult to draw anything for the embarrassment it would cause. They considered drawing to be a "childish" past-time. Children were less reticent about this form of expression, though many of them apparently did not have great skills or experience as drawers.

While drawings were for the most part 'kid's stuff', the utility of drawing as productive symbolic frame tasks and the basic competence of children as productive and willing cultural informants, warranted extensive incorporation and utilization of numerous drawing tasks. The principle difficulty of the use of drawing tasks are the development of a valid and reliable nomothetic system of analysis and evaluation.

Several types of drawing tasks were utilized. The main kind were the largely unconstrained techniques used in children's psychological evaluation, the Human Figure Drawing, Family and Kinetic Family drawings (variously "Draw your family", "Draw any Family", "Draw your family with everyone doing something, including yourself"), and a variant of the House-Tree-Person drawings that involved the relative drawing and placement of the house, tree and person on the same page. These were supplemented by several other types of drawing tasks, of which the main ones were an adaptation of the Ruth Fry Symbolic Profile which was quick to administer, a similar variant of this constructed on the basis of the "Sander Fantasie Technique", as well as another experimental set of coordinated drawing tasks that I constructed that ranged between drawing on totally unconstrained spaces to progressively more constrained background features--dots, then dots and lines, then closed lines.

It is my conclusion that these tasks all accomplish about the same thing, except that the more constraint there is involved in the task, the less expressive and more "responsive" the elicitations become. It is also my belief that any universal ascriptions can be attached to particular things drawn, or to particular shapes or symbols. This is especially pertinent to the Symbolic Profile the interpretation of which is rooted in Jungian theory.

What all these drawing tasks do elicit, are forms of expression which, when fit into the cultural background in which they were created, allow for a deeper reading of both the theme of the picture, of the artist who created that picture, and of the cultural context in which that artist is situated.

Since most of the drawing tasks involved the use of color pens, an intrinsic part of the their analysis is the use of color associations and frequencies of occurrence in the drawings. Color in drawing tasks is not well explored. Colored pens were used in a sub-sample of the Human Figure Drawings, and though using color in Human Figure drawings obfuscates the analysis of these tasks, it also helps to understand how color may be related to certain facets of our identity and emotionality.

Analysis of this task was based upon the Goodenough inventory which is used extensively in the calculation of mental age and IQ, combined with Elizabeth Koppitz's inventories of gender, developmental items, emotional and organic indicators. The figures were also measured for height and width, as well as for the degrees and direction of rotation from the vertical, as well as for a few other characteristics which became noticed during analysis, such as open mouths, smiles, zigzag lines, disproportionately enlarged heads, reduced trunks, hands hidden behind the back, bangs, fists.

Only frequency scores of the samples are presented, here. Samples have been split between male and female, and differences due to age which may be relevant to the analysis of mental age or IQ or to development, are conflated within the analysis. It is interesting that it is in the area of these drawing tasks alone that the male samples outweigh the female samples, and it is about the only thing that any number of boys were consistently willing to do for us.

The few scores calculated for estimation of mental age and IQ showed scores which were probably unreliable when compared to other observational evidence and information from other tasks. It may be possible on the basis of these scores to refer children to nominal categories of "above average, normal, or below average" mental age, but the scoring system seems unreliable to give more exact estimations.

Of two samples of 28 boys, the average developmental score of the male sample was 21.178 out of a possible score of 30. For this sample there was an average score of 1 for impulsivity, .64 for insecurity, .46 for anxiety, .46 for shyness, and .178 for anger. For the most part, these scores were distributed evenly over the whole sample. Only one males showed a score of 3 for each category impulsivity, insecurity, anxiety, and two males had a score of 2 in each of the categories of shyness and anger.

For the female sample of 21 women, there was an average score of .33 for impulsivity, .19 for insecurity, .38 for anxiety, .38 for shyness and .047 for anger. For impulsivity, this score is distributed between 4 out of 21 persons, with 3 having a score of 2. For insecurity this score is distributed among 2 persons with a score of 2 each. Scores for anxiety (6 people) and shyness (8 people) are more evenly distributed across the sample, and the anger score is only represented by 1 person.

This scores are not really comparable with the male sample because the average age of the female sample of 13.9 years with a mode of 16 was much higher than that of the male sample, 11.4 years with a mode of 13, but it does show the relative differences of emotional profiles as these are indicated by the scoring of human figure drawings. Correlations between the combined categories for men and women is .4738, and there is a 1.0 positive correlation between all the categories for both men and women. Overall, the women show a much more balanced and stable emotional profile than the males. In both samples there is very low evidence for anger. Women have higher indications of anxiety and shyness, whereas the boys show higher scores for impulsivity and insecurity, anxiety and shyness.

Analysis of children's drawings is complicated by that fact that developmental, emotional and mental dimension are to some extent overlapping and conflated. It is difficult if not impossible to separate out what indications may be due to developmental, mental or emotional factors. An example of this are the organic indicators which clearly have a relationship to development and relative mental age. Immature individuals can be expected to show a higher score on the indicators for organic dysfunction and more mature or older individuals. The average score for organic indicators for the males is 5.25, though there were not visible signs of organic disturbance by any of the males. Of course, some of the criteria for scoring, such as distortion, integration and asymmetry, are relatively subjectively based. Even if a lower score is given for these categories such that the average score is half of what it appears to be, there is still a strong indication of organic disorder among the males.

The average score for organic indicators for the female sample is 2.62, which is about half of the male sample's score, a difference significant above the .05 level with a chi square of 4.899. It is difficult to interpret this statistic, because the females are on the average older than the males. Both sets of scores are fairly evenly distributed over the entire sample. These scores may show that the males are possibly twice as disturbed as the females according to these indicators, or that their degree of possible disturbance is much greater than the women, or else their mental age and developmental scores are lower than that for the females.

There is can be expected to be a strong correlation between these average scores and those for the different emotional indicators, as well as for the scores for neurotic indications. The average score for neurotic indicators are 1.96, compared to an average score of the women of .86 for the women, less than half the male score, and with a chi square of 4.63, also significant above the .05 level.

On the traits decreasing in frequency with age, we should expect a higher score for the men than for the women. The average for the male sample is 1.96, while that for the female sample is 1.38. The chi square test for the raw scores of previous figures is .958, not significant about the .25 level, thus it seems as if its impossible to separate clearly developmental from non-developmental factors in children's drawings, although there is a substantial difference between male and female scores.

Another set of developmental items which are expected to increase in frequency with age should indicate a higher score for the female than for the male sample. The average male score is 11.75, while the average female score is 13.67, a minor difference with correlates very well with the average age of the two samples. Another way of asking this question is in terms of exceptional items which are supposed to increase in frequency with age. Thus it can be expected that the males should score considerably lower than the females in these indicators. The average score for the male sample is 10, compared to an average score of 9.57 for the females.

The average score used to calculate mental age and IQ should show the difference in the average age, as does the difference in the frequency of expected items above. The average score for the male sample is 28.96, while the score for the female sample is 32.95 According to the Goodenough scoring sheet, this yields a mental age of about 10.3 for the males and about 11.3 for the females. Thus the computed average IQ of the male sample is 97, while that of the female sample is 81. It is of course erroneous to conflate individual scores in this way to compute average IQ, and part of the reason for this error is the high median of the female age curve which inflates the denominator of the IQ equation.

The average score of the male sample for the masculine indicators is 1.04, compared to the female average of .9 for the females. The average score of the male sample for feminine indicators is 1, compared to 1 for the females. The average score for males on the masculine characteristics for girls is .64, while it is .2438 for the females. The average score of the males for traits showing male differentiation of male from female drawings is .25, while it is .23 for the females. The average score for the males showing female differentiation of male and female drawings is 1.46, while it is 1.0476, not significant above .25 for the chi square test. Thus, masculine and feminine indicators are not clear in these samples, with the males showing greater feminine characteristics than the females.

Characteristics noticeably absent in the drawings of boys were nostrils, the correct number of fingers, fingers, no hands, opposable thumbs, complete costume, legs, ears and chins. The highest frequencies of neurological indicators were the the presence of 2 or more organic indicators, the most frequent of which were gross immaturity of the figures and distortions of the figure. For the males the most significant indicator of impulsivity was asymmetry.

For the female sample, noticeably absent features were also related to the hands, as well as the lack of ears and nostrils. There were no outstanding neurological or organic indicators, nor any outstanding emotional indicators.

Of the male sample, more than 85% drew male figures, and only 14.28% drew female figures. Of the female sample, more than 90% drew female figures, and only 9.5% drew male figures. The average number of clothes for the male figures is 3.8, while the number of clothes for the female's figures is 3.28.

There were no significant differences in rotation scores, except that the females had a higher frequency of no rotations (40%) than the males who had no 0 rotations. Males

had slightly more rotations to the right, with an average right rotation score of 4.2, compared to an average left rotation score of 4.68. The females had an even number of rotations to the right and left, and they had a left rotation score of 2.58, and a right rotation score of 4.166.

Both males and females drew a high proportion of characteristics not normally scored, these included bangs, enlargement of the head in relation to the body, clear emphasis of the eyes, reduction of the trunk in relation to the body or the head, shading or detail to the hair, hands behind the back or in the pockets, smiles and open mouths. The males especially showed a special characteristic (50%) of emphasized zig-zag lines, either as bangs on the head, or on the body or hands, a difference from the females with a chi square of 1.586, significant above the .25 level. It is not known at this point what these special characteristics may represent, though correlations between these frequencies and the frequencies of other characteristics might yield some sense of their significance.

These scores speak little for the Human Figure drawings, nor for the children who drew them. The heads are frequently enlarged with a great deal of attention, especially to the eyes and the hair, and sometimes the mouth. Typically the body is short in relation to the head and squarish in shape. Also the arms are short, almost cut off at the end, without much attention to the hands. Clothing is usually sparse and without a lot of pattern or detail, though there are frequent exceptions--this is nothing unusual in a context where many men walk around all day long with nothing more than a pair of shorts or swimming trunks on, and most people dress with just a t-shirt and shorts and slippers.

Though Human figure drawings have been extensively used in cross-cultural analysis, and significant differences between character frequencies do show up between different cultural samples, it is yet unclear what are the significant culturally distinctive patterns of the Jetty human figure drawings. The heads are emphasized, and the bodies and limbs relatively poorly developed and reduced.

Another sample of drawings were the Family drawing tasks. It is interesting that the typical arrangement of the members are in a kind of hieratic order of size, with individual's standing side-by-side in a row, usually without touching. In only about 10 of about 29 (34.5%) boys drawings are any members of the family touching, and these are usually just one or two figures, while in only five of the 17 (29.4%) girl's drawings are there any family members touching, while in only 4 drawings of the total sample (8.7%) are all the members touching one another as a group.

In the boy's drawings, out of the 17 of 29 (58.6%) which depict a father and a mother, only four (13.7%) show the father larger than the mother, while seven (24%) show them of equal size, and six (20.6%) show the mother actually larger than the father. The same thing occurs with the female drawings. Fourteen out of 17 (82.35%) show both a father and a mother, of which six show them of equal size (35.3%) while five show the mother to be larger than the father (29.4%) and only three show the father to be larger than the mother (17.6%). Though these differences are not too significant in a statistical sense, they do serve to highlight a fact which became very apparent during the analysis of the drawings, the central and prominent role of the mother in the life of the family and the artist. In two of the boys drawings is the self actually drawn as large as or larger than the parents.

In the drawings of the family figures, there was an overall reduction in the size and in the attention to detail which rendered significantly lower overall scores to the figures, as well as a reduction in the form of the figures. The amount of such reduction is of course proportionate to the number of family members drawn, but also marks out the fact that there is less differentiation of figures at the family level than in terms of the individual self. Details that were frequent in the family drawings were the attention to the head and hair of the figures, especially to the bangs and eyes, but also giving patterned shirts and pockets to family members. The enlargement of the head and reduction of the torso were

also quite apparent in these family figures, in many instances even being more marked than in the figure drawings. There were many open mouths, but fewer smiles on average than the figure drawings.

The average rotation was lower than that for the human figures, 2.0 degrees right and 1.90 left for the boys, and 2.07 right and 1.12 left for the girls. Out of a total sample of 46, there were 20 drawings (43.5%) on which mixed rotations on the same page occurred.

Predictably, there was an increase in the average score of organic and neurological signs per figure in the drawings, being 5.98 for the boy's sample and 4.9 for the girls' sample. The boys' average score per figure for impulsivity was 1.05, the girls .896. The boys' average score per figure for insecurity was .672, the girls .36. The boys' average score per figure for anxiety was .874, the girls .96. The boys' average score per figure for shyness was .756, the girl's was .78. The boys' average score per figure for anger/aggressiveness was .277, the girls' were .1.

Correlations between these scores indicates a positive correlation of .838 between the boy's figure drawings and family drawings for all emotional indicators.

Table Appendix 5-1. Correlations of Scores between Human Figure

and Family Drawings

Correlations of scores between the different categories of emotional indicators are shown in the table below:

Table Appendix 5-2 Correlations of Scores for Emotional Indicators

The closer similarity in emotional indicator scores between the boy's and girl's samples for the family drawings may be due in part to the closer similarity of average age, which is 11.58 years for the boys and 13.05 years (with a mode of 13) for the girls, as well as to just random variation of the sample. But there is also the possibility that emotional profiles attached to familial relations and the family context compared to those attached to self-identity may be more different in the case of the girl's than the boys. If so, then in relation to the family girls show profiles similar to the boy's, greater impulsivity and insecurity, anxiety and timidity.

There are relatively few actions or objects associated with family drawings. Two figures are kissing in one drawing, in another all the children are reaching towards the mother, in another a mother is reaching toward the child. In two figures appear to be walking in one direction, in another the boys appear to be running. In one the father is waving toward the family. In another one is holding another. Two hearts are drawn between the self and the mother in two of the boys' drawings. There is a slight tendency for the boys to draw the males, father's and son's, alike, with similar hair, clothes, postures, and for the girls to draw the women alike in a similar manner. Siblings are usually drawn very similarly, and smaller than the adults. The inter-positioning of another

sibling between ego and a parent, or the turning away of the parent from ego toward another sibling, occurs in a few drawings.

Perhaps the most interesting family drawn was made by a young girl who's mother had recently died of breast cancer. In it she draws her cousins of her uncle's family which she calls her own. Her father and mother are absent. There are clouds and birds in the sky and a tree growing in the foreground.

House-Tree-Person drawings were collected from small samples of boys (N = 16) and girls (N=14). The two samples are remarkably consistent in the scores of the expected frequency of developmental items, the absence of which serve as neurological indicators, as well as in the relative frequencies of exceptional items which are also used in developmental analysis, the girls having an average absence score of 11.428 out of 28 items (40.8%) and the boys having an average absence score of 10.5 out of 28 items (37.5%). Of these items, the most common absences were ears, nostrils, pupils, elbows, knees, two lips, five fingers, etc. and the correlations between these two sets of score are remarkably similar. Correlation between the boys and girls scores on these indicators is .936.

It can be expected that these scores for the organic-neurological traits are relatively high, due to the reduction of detail and form in relation to the task of also drawing a house and tree in the same field. The score for the girls' sample is 6.143. Scores for the boys' sample are 5.437. Scores for the emotional categories are about equal for impulsivity (boys, 1.06 and girls 1.14), boys .31 for insecurity, girls .143, boys .25 for anxiety, girls .50, boys .44 for shyness, girls 1, and boys .06 for anger and girls .07. It seems that on this task the girls show considerably more timidity and anxiety than the boys, whereas the boys appear slightly more insecure or inadequate than the girls.

Again it is difficult to interpret these scores on the basis of its relationship to the drawing of the house and the tree, and what these may symbolically represent in

relationship to the human figure drawn. The two boys drew female figures (12.6%) while three girls drew male figures (21.4%). The differences in direction and degrees of rotation were significant for the human figures, the boys being slightly oriented to the left while the girls were slightly oriented to the right. The chi square for this difference in left/right orientation between the boys and girls is 10.878, significant above the .001 level. What this may mean is unknown at this time.

In terms of other characteristics, both boys and girls had the enlarged heads and reduced trunks, zigzags, smiles, open mouths and clothing details. The girls showed proportionately more hands hidden behind the back, bangs and fists. These features were consistently frequent on almost all human figures drawn.

The drawings were also scored for the relative position of the house, tree, person from left to right, from foreground to background (from bottom edge to top) and also in terms of large to small size. The predominant pattern was a left to right orientation in which the paper was cut evenly into thirds widthwise to accommodate each item.

For the boys, 43.7% drew their trees on the left side, 68.9% drew their houses in the centerline, (only 6.25% trees in center), and 62.5% drew their trees on the right side. 68.75% of the boys drew the houses as the largest item, followed by trees as both second most frequent largest item and most frequent second sized item (43.5%), then persons were both the least most first largest sized thing drawn (6.25%) and the most frequent third sized thing drawn (62.5%). No houses were the smallest things drawn. People were the most frequent item drawing in the foreground (50%), followed by trees (31.25%). Both houses and persons were equally drawn in the mid ground (37.5%) and trees (50%) followed by houses (43.5%) were the most frequent things drawn in the background. There may be larger patterns in these scores, but the distribution of Houses, Trees, and Persons looks fairly uniform without any other obvious clear cut patterns.

For the girls, Trees were also the most frequent thing drawn on the left edge, (57.1%) followed by houses (28.57%). Houses were the most frequent thing drawn in the center (42.85%), while people and trees occurred in the centerline with equal frequency (28.5% each). People occurred most frequently on the right edge (57.1%), followed by trees and then houses. Trees were the largest things drawn (42.85%), followed by houses (42.85%) and people. Trees were also the second largest things drawn (42.85%) again followed by trees (35.7%) and people. People were the smallest thing drawn (64.28%), followed by trees and then houses. People were the most frequent things placed in the foreground, (71.4%), followed by trees and then houses. Trees were the most important things placed in the midground (50%), followed by houses and then people. Houses were the most important things placed in the background (57.14%), followed by trees (35.7%) and one person.

Table Appendix 5-3. Correlations of Relative Position and Size of House,

Tree and Person.

Correlations were run on the different combinations between the male and female samples. There is a perfect correlation between these two samples in the frequencies of position and size of the person. There is a .74 correlation in the two samples in the position and size of the house, and the tree shows the greatest difference, with a negative correlation of .03348. Correlations were run on the nine sets of dimensions for the placement and relative size of the tree between the two samples, showing the following table of perfect correlations:

The total sample was also correlated between House, Tree and Person. There is a .098 positive correlation of position and size of the House and the Tree, and a negative correlation of -.7721 between the position and size of the Person and the House, and a negative correlation of 1.6136 between the Tree and the Person. Correlations between the different positions and sizes of the House, Tree and Person are given in the table below:

Table Appendix 5-4

. Correlations of the Total Sample of House, Tree and Person Drawings.

There are clear in these patterns different saliencies between boys and girls in the drawing of the house, tree and person in interrelationship. The person is the most salient in the foreground for both boys and girls and show surprisingly exactly equal correlations in both placement and size. But the person is also the least salient in terms of size. Both boys and girls drew trees more frequently on the left edge and people more frequently on the right edge. For the boys, the house is the most salient in terms of size, and in terms of

placement in the center of the page, whereas for the girls the tree is the most salient in size in positioning in the center of the page. Whereas boys background the trees more often, the girls are back-grounding the houses more often. The sample sizes and differences in these frequencies in the placement of the House and Tree between the samples are not great enough to be significant, but they remain suggestive.

It is not clear exactly what the house or the tree may symbolically represent, or the relationship of the person to either. Analysis of the House was fairly straight forward. It was measured for height and width, and scored for presence or absence of a number of elements, some of which emerged in the course of the analysis--curtains in windows or doors, door knobs, stilts, antenna, smoke coming from the chimney. The prototypical Jetty child's house is rectangular in shape, slightly wider than higher, with two square windows in the upper right and left corners or quadrants of the front, and a roof steeped on both sides to the top, which consists of a horizontal line about 2/3's of the way across the width of the house. Most houses are only one dimensional, with a single front wall with a doorway in the center bottom. Only two boys and two girls drew transparent houses, or doors open, or lights on in the houses, and no furniture was represented in any of the houses. Only one or two boys and girls drew sidewalks, fences, antennas, stilts, double doors, curtains in the door, smoke from the chimney, porches or tiles on the roof. About half of the houses had shaded roofs with either tiles or thatch. Only two girls drew chimneys. Most kids drew knobs on the doors (76.7%), curtains in the windows (73.3%). There was no significant difference in average Form scores for the houses between boys (2.25) and girls (2.50). The average sizes of the boys houses was slightly larger than that of the girls, but not significantly so.

Tree drawings were either prototypical fist like with large trunks and foliage outlines, or else they were palm trees (10%). Four girls and three boys drew fruit in the trees. Three girls and 8 boys filled in the foliage with shading or hatching. Six boys and 5 girls drew branches in the tree. Boys drew slightly shorter (12.928 cm.) and narrower (5.4 cm.) trees with skinnier trunks (2.0) than the girls, whose trees were typically shorter, fatter at the foliage and with thicker trunks (12.98 X 6.29, trunks 2.7 cm). Average trunk length for boys and girls was about the same (9.53 boys to 9.42 girls). Rotation scores and direction with slight and insignificant except for one boy whose tree was slanted 12 degrees to the right, compared to those scores for the human figures. Six boys and three girls drew baselines at the bottom of their trees. One boy and 3 girls drew their trees with the foliage cut off by the top edge of the paper, and 3 girls drew their trees cut in half length-wise by the left or right edge of the paper. One girl drew two trees.

The trees were also scored on the degree to which the trunk intruded into the foliage area of the tree to create a kind of transparency effect that did not quite resemble branches. This category was scored from slight, the half, to extreme. Four girls fell into the slight category, five into the half, and five into the extreme category. Six boys fell into the slight, 3 into the middle and 2 into the extreme category. Overall, 33.3% fell into the slight category, 26.6% into the middle and 23.3% into the extreme category. Only 5 (16.7) showed no such transparency at all. This was common enough to become a salient category for scoring, though its possible symbolic or developmental or emotional significance is unknown. It is apparent though that extreme or half transparency of the trunk into the foliage of the tree is indicative of poor form and integration of the tree.

Related to the House-Tree-Person task, and particularly to the figures of the houses, were a group of spontaneous drawings of houses that emerged from children who would draw for me. This sample of house drawings (N= 19) constituted the main category of such spontaneous drawings, next to human figure drawings. That these constituted a clear cut, salient spontaneous category of drawings is in itself of interpretive value. These houses were all of the prototypical form drawn by these kids, but overall show greater detail of elaboration and form than the houses of the HTP task, which can be expected. There were more objects, animals, clouds, suns, flowers and trees associated with these houses than in the HTP drawings. Overall the two sets of houses are almost the same, with the rectangular, almost square shape, the characteristic roof, two window's in each upper corner, a central door, curtains in window excetera. There were more roofs shaded, transparencies, furniture (tables and a bed), people inside the houses, curtains in the windows, double doors, curving arches of the door, walkways or paths, chimneys with smoke and lights inside the houses, though not very many more of these. Flowers are found in front of the house. Also, 15 of 19 houses were drawn with color. Of these, 6 were drawn in purple outline (40%, 2 in black, 2 or 3 in blue, 1 in green, 1 in brown, 1 in pink, 1 in yellow outline). Orange, yellow, brown and green colors are frequently found associated with items around the house. At least one picture suggests that the house as a symbol is closely associated with the face, with the two windows for the eyes and the door for the nose or the mouth. Such an association is certainly within the realm of possibility, though it is not the only association likely to be made with houses. But the face is a potent symbol in the drawings, recurring again and again in different forms.

Another spontaneous category of drawings which was clearly salient was a number of "Mickey Mouse" faces which can be considered to be prototypical of a "heart-shape/face" that I believe to be related to the frequency of the butterfly/bird/bat/heart form in the inkblots, as well as to the inbetween "half-human/half-animal" category, that recurs in the inkblot elicitations, and which also is frequent in the first four or five pages of the pattern test.

The relationship to the heart shape may be more than just analogy or happenstance, there is a clear sense of emergence of the face from the prototypical heart-shape in a few of the drawings, and across several of these drawings there is the development of the picture along more human-like or more zoomorphic characteristics. Symbolically, I see in these

pictures a prototypical human face--that of the mother or of ego, that clearly emerges and becomes more refined, often in a stereotypical manner.

A sample of these drawings (N=19) shows that 9 (47.4%) have clearly humanlike characteristics, especially the eyes and the mouth. Only 8 (42%) have clear muzzles, the cheek outlines and ear outlines more characteristic of the prototypical "Mickey Mouse" face. These drawings thus fall along a continuum from humanlike to more zoomorphic features. Twelve have tongues sticking out, and 3 have teeth. Five have eyebrows and four have eyelashes. Nine of 19 (47%) show clear distortions and disproportions of overall form, and represent poorly drawn attempts, and are possibly emotional or neurotic indicators.

Most of them are done in monochrome, and most are drawn in black (9 of 18, 50%), brown (4 of 18, 22%), 3 in yellow (16.7%) and two in green (5.6%) and only one was purple. Other colors only used in combination with black were red (3), pink, green, yellow, blue and purple.

There symbolic significance may be inherently ambiguous, both connotative of love and of anger and anxiety, as suggested by their dark colors, shading of the face, large size, open mouth with tongue and teeth. There ambivalence as potent symbols cannot be ignored in the sample.

An inventory of items produced on a sample of miscellaneous drawings yields a color associated list over 90 long and a non-color list list over 90 items long. Both lists overlap to a minimal extent. In the color list, about 53 items occur only once (58.8%) and another 12 items occur only twice (13.33%) this leaves about 25 items which occur 3 or more times. Of these, the most frequent are water (13), fish (10) the sun with mandala waves and cats (7 each), pencils (6), balloons (5), houses, cars, leaves, flowers, stems, boats and hearts (4 each). Other items occurring at least 3 times are eyes, girls, faces, Chinese letters, stick figures, apples, ribbons, persons, birds, and rats. In one drawing, a triangular form was turned into the shape of a face with triangular, heart-shaped outline, a circle, a square, a funny hat and glasses.

In these drawings there are no particularly salient associations between objects and colors, except for orange fish, blue water, brown stems, brown ribbons, blue birds, orange boats, green leaves, red apples and black cats. The most frequent colors used were orange (19.1%), followed by black (16.1%), red (10.55%), brown (9.5%), blue and yellow (9%), pink (8.5%), purple (8%), green (7.5%) and finally grey (2.5%).

Spontaneous items drawn in pencil yielded a range of over 90 items, of which the most salient in frequency were fish (12), eyes (11), faces (10), leaves (9), rivers, flowers, apples (6 each), crabs and mountains or hills (5 each), followed by boats, hats or caps, triangles, glasses and balls (4 each).

Several other drawing tasks were administered, and a couple of other categories of salient pictures emerged spontaneously during the course of our study on the Jetty. The first type of task all consist of the subject drawing a picture around a little symbol or shape which is usually minimal in form--a wavy line, a curve, a dot, a circle. Three of these types of tasks were administered, and all had about the same kind of response patterns. Since there are no clearly objective ways of analyzing these pictures, and since I reject the universal significances which are attached to the drawing of some of these symbols, especially with the Jungian "symbolic profile", about the most that can be done with these is to record and analyze their frequency patterns, their themata and color associations for any significant patterns.

Three samples were therefore constituted of drawings of from different tasks. They all yielded a similar interesting and highly significant patterns of associations in which certain types of figures drawn were highly associated with the symbols which served as their stimulus. Thus, for the first small "square" of the Symbolic profile (N = 37), 14 people drew houses (37.8%), four people drew "baju's" or shirts (10.8%), two people

drew glasses and two ribbons. The odds of this occurring by chance are slim to say the least. But the same pattern recurs in all the different symbols on all three of the tasks, with more or less greater range of variation and/or agreement. The second "wave" symbol of the Symbolic Profile yielded 5 eyes (13.5%), 4 seascapes, 3 rivers, 3 men and 2 faces. The third "dot" yielded 6 faces (15.5%), 4 girls, 3 hills, and 2 Mickey Mouse faces, 2 flowers and two "dots". The fourth "diagonal line" yielded 7 triangle/pyramids, 4 hats/caps, 2 boxes, 2 trashcans, and 2 houses. The fifth "circle" yielded 5 flowers, 3 views, 3 coconuts, 2 houses, umbrellas, balls and tables. The sixth and final "curve" yielded 7 faces, 5 apples and 5 cups, 4 eyes, and 2 hand bags and 2 balls.

Similarly for the "Sandar Phantasie" task (N = 10-17), the first set of six sets of symbols yielded 7 fish and 3 seascapes, the second set yielded 5 irregular shapes, 2 trees, 2 Mickey Mouse faces and 2 other faces, the third set yielded 3 fish, along with a sun, a tree, a "view", a clock, a house and a Mickey Mouse face, the fourth set yielded 7 fish, 3 animal forms, and 2 balls, along with one seascape and 1 flower, the fifth set yielded 7 irregular forms, 4 squares, 1 fish, 1 Mickey Mouse, and 1 playground, and the sixth and last set yielded 3 birds, 3 circles, 2 sets of double doors, 2 trees, and 2 irregular shapes.

Again, the same phenomenon occurred for the "Blobs & Circles" task (N > 39) in which the first set of blobs yielded 10 faces, 8 filled spaces, 2 clowns, 2 houses, 2 hats and 2 "x's", the second set of triangles yielded 7 outlines with inner patterns such as flowers , 6 filled areas, 5 triangles, 4 faces, 3 jungle gyms, 3 kites, 3 flowers, 2 clown faces, and 2 planes, the third set of squares rendered 8 4 or 5 point stars, 5 outlines with inner "x's" or hearts (4), 5 filled triangles, 4 kites, 3 larger squares incorporating the smaller one, 2 Chinese gambling dice, 2 squid, and 2 fish, and the final set of circles yielded 9 flowers, 8 suns, 5 filled triangles, four sets of rambutans, four circles, 3 balls and 2 animals.

The chances of these patterns happening independently by chance alone are so remote out of the endless possibilities of things that can be drawn, as suggested by other tasks, that we must invoke another pattern of structure, possibly the sharing of similar symbolic responses to similar material on one or several levels of psychological organization. Clearly cultural material, such as the Chinese gambling dice, sea scapes, fish, rambutans, Mickey Mouse faces and the house styles are highly unlikely to occur among other peoples in the same combination or frequencies.

This pattern also suggests that there may be certain prototypical symbolic forms, such as the circle or square or triangle, which are inherently "good to think" and upon which more complex symbolic forms, such as flowers, suns with Mandala rays, faces, animals, balls, fruit, etc. This is obvious in any introduction to drawing technique, but it is less obvious when it comes to understanding how the mind may be actually configuring perceptual and mental information in the construction of such symbols with meaningful content. Different minimal stimuli can invoke similar types of symbolic responses, and at the same time, the same symbolic stimuli can be used in the fashioning of many alternate symbolic forms. We cannot, it seems, in the symbolic organization of human consciousness, clearly separate categories of house, animal, face, flower, sun and fruit, at least on a basic level in which perceptual stimuli fuse with cognitive patterns to create the content of our thoughts and imagery.

The final drawing task that was administered to the Jetty (N=11) was a set of stimuli which ranged from "open" blank drawing pages to dots, to dots and lines, and finally to "closed" spaces. The object of the task was for the individual to successively draw in pictures in the spaces provided using the ground in levels of increasing background constraint. Because the sample was small and only partially overlapping, the results cannot be used in any but a suggestive manner.

In the first level of four sets of "open" or unconstrained drawings, every picture was filled with full, expressive items. Recurrent drawings were 4 thousand dollar notes, 5 houses, 2 butterflies, 4 sets of balloons, 2 credit cards, 3 cars, 3 sets of fish, 2 sets of ducks, 2 sets of boats, 2 books and a diploma, a clock and a watch, 3 views, 2 of the sea and one from a hill, and 1 tree and a forest with bushes.

In the next level of "connecting the dots", fewer clear items occur, and more geometrized forms occur. There is a banana, two dogs Lost is the symbolic gestalt as the structure of the ground effectively blocks the filling in of the empty space. This pattern of the intrusion into the picture of the external structure of an increasingly constrained ground as reflected in the increasing abstraction and reduction of the image to simple lines and geometric forms, becomes increased at each successively level.

At the second level of eight sets of drawings, there are 10 rough triangles, 6 squares, 1 trapezoid, 3 crescent moons, 3 dog's heads, a banana and a crescent shaped French fry, a boat hull, a flag, a "7" and a "56", a plate/pie, 2 hats or caps, 1 ice cream cone, 1 balloon, 1 map, 1 kite, 1 5-pt. star, 2 rough animal shapes, 3 very rough and crude fish, 1 zigzag, one simplifed view with a sun, a hill and horizon line, an "x" and a rough tree 'with a hole in it." With increasing background constraint, lost is the pattern of the shared symbolic gestalt, a breaking up of a pattern to yield a broader range of individual items which are simplified in form and rough.

At the third level, this process continues even further, as noise is increased with the addition of lines partially connecting the dots. At the third level there occurs 22 rough triangles, 6 crescent moons, 4 irregular shapes, 4 rough, simplified fish shapes, 2 straight lines, 2 filled dots, 2 "snowmen" in rough outline, 2 zigzags, 2 "arrows", 1 bow and arrow, a set of "petals" as if fallen from the flower hip, a pair of shirt and pants, a simple "mountain", small darts, an ice cream cone, a tadpole, a hairdryer, a helmet, "batman", branches, an "X", a crude "handker-chef", a poorly integrated "face, 1 rough square, a rectangular "water tank", 1 bird and 1 rabbit, 1 tape measure and a "slice of watermelon."

By the fourth level, the images are so constrained by the enclosed spaces and the external structure of the lines, that images are purely projective and imaginary, and the drawn figures lack almost any but the most geometric integration. There are more than 33 triangles, 7 filled in spaces, 6 filled in dots, 5 figure "8's", 3 circles, 2 trapezoids, 3 "cigar" shapes, 2 "bun" shapes, 1 snake, 1 fish coiled around a dot, 2 rough eggs, 2 seats, 1 "leg stocking", 1 hair, 1 butterfly in triangular and trapezoidal shape, 1 fish, 1 "monkey", 1 "person sleeping", 1 "ghost", 1 "head of an alien with no eyes, ears, nose and so on--it only has tongue", 1 "a mask with eyes, nose and a mouth", 1 dog head, and 2 parts of houses, one "part of a house with hole under wall" and the other missing a bottom edge, a "c", an "l" and an "i", and one star.

The loss of "expressive" control and symbolic representation is reflected in the increasing frequency in which pictures were not completed. All the pictures of the first level were completed (44 of 44). By the second level, 39 of 88 pictures were left uncompleted (44.3%). By the third level, 35 of 88 pictures are undrawn (39.8%). By the fourth and final level, 50 pictures of 88 are left unfinished (56.2%). It appears then that increasing external constraint and perhaps "ambiguity" leads significantly to the reduction of the capacity to independently construct clear and realistic expressive symbols.