Introduction:

The analysis or interpretation of drawings is closely related to those in handwriting analysis. Many of the same principles are used -- the way the page is filled, level of detail, types of strokes, proportions, accuracy and much more. From all of this it is possible to provide a personality profile. Drawings can reveal feelings, influences and interests -- the artist's inner emotional state and development. When used in conjunction with handwriting analysis it can either confirm a personality profile, or reveal traits not evident in the handwriting. Analysis of a person's drawings is also a common practice used in child psychology. Tests like the House-Person-Tree test or the Draw a Person test help the psychologist gain an understanding of the child's mental and emotional state. Asking a subject to draw a picture also presents a maximum of ambiguity for the subject. Whereas tests that present a stimulus card which does not change over time, having the subject create a picture presents the subject with a completely blank field onto which they are asked to draw and project. Every subject will draw a tree, but every tree will differ. The result is a collection of projective material organized around standard themes and freedom from stimulus bias.

Purpose of Drawing Analysis:

Humans are animals who use tools": as Benjamin Franklin has said, human beings have, as an extension of hand functions, come to make tools according to the purpose. And the tools are refined to become easier to use, and eventually, they led up to not only being used for the purpose of survival, but also to the act of "drawing pictures" in order to enrich life. Pictures indeed tell of the drawer's existence, thoughts, and inner self. As well, people enjoy drawing. This is because drawing stimulates the universal desire to express oneself. By expressing oneself, the heart is released. At the same time that drawing is this kind of individual expression, it also has the value of communication. Drawing tends to recount far more things to the reader than language. Children do not yet have sufficient capabilities for abstract linguistic expression, but they have symbolic
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communication methods such as drawing. Through pictures, children make communication with familiar people, they develop skills for living, and build a sense of trust. Drawing for children, at the same time as being an expression of the inner self and a communication method, is something that reveals the development that accompanies a child's age. Children's drawings have an order of development, and that accompanies the development of motor skills, emotional development, psychosocial development and the development of perception. Children draw "what they know" in their own style. In other words, the perception functions, sensibility/emotions and motor functions interact, and there, the factor of social experience is added and the picture is drawn onto paper. Research on children's drawings have arrived at the present day through developmental research phase (developmental approach), intellectual research phase (psychological measurement approach), and personality test phase (projection approach). In order to have an overall approach on the children's drawings, we must know about the above three researches. When we think about the developmental approach, as we focus on a child's drawing activities, the child's drawing naturally changes according to age. In order to draw what one is thinking, the skilled control and development of the fingers becomes necessary. As well, children draw what they know about. What they know, what they wish to communicate to others, these are expressed not simply as they are seen, but with the child's personal style. It follows that, the extent to which a child is conscious of the surroundings, in other words, the breadth of the child's world vision has a great influence on the contents of the drawing. In addition, in order to draw something, there is a need to have an interest in familiar matters and events. Sensitivity toward matters, things, feelings such as joy, anger, sadness and contentment, as well as the development of emotions, enriches the drawing activity. As noted above, the development of various skills promote the development of drawing expression. And, the fulfillment of life experience and the expansion of worldview are greatly influences for the furthering of drawing activities. By expressing these in pictures, the
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consciousness becomes entrenched in the child, it enriches the world of creativity, and expands the substance of daily life. From this, there arise correlating effects such as progressing the child's overall skills or development of drawing. The development of children's drawing expression follows basically the same path for every child. In addition, although there exist some differences in lifestyle, at the infant stage, all children around the world show a universally shared development process. In children's pictures, there may be the primordial shapes and forms of drawing activity.

Again, in addition to the inherent individual differences such as those that were mentioned before, the culture and the state of the lifestyle environment that surround the children and the education methods, etc. also have an influence on the development of drawing. As I have mentioned above, childrens drawings, according to the development of their various skills, can be said to develop comprehensively on the two fronts of the inherent/universal factors that grow according to an intrinsic development program, and of factors due to the lifestyle environment in which they live and the education culture environment. When we think about the psychological measurement approach, in one sense, the drawing activity progresses along with the development of the intellect, it can be said that pictures could become a means of diagnosing intellectual development. In the examination results presented in 1908 of the 9,746 drawings that were collected in Switzerland, it is said that among children who drew good pictures, the percentage of intellectually superior children was higher than the percentage of intellectually inferior children. In the early 1900s, many research methods were developed, such as the reproducing method that attempted to measure the development level of the drawer through reproduction, the completion test that completed a picture by drawing in the missing parts, etc.. Among these, the most well-known and the most often used is the DAM (Draw-a-Man), issued by Goodenough in 1926. It is an intelligence test that is measured using portrait drawings and using IQ (intelligence quotient) as a basis. Drawing a person is, at the same time as expressing a subject that belongs to the category of people, also to express what kind of being the self is.
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Consequently, portrait drawings are an image of the self and an image of others, and it is necessarily drawn based on various perceptive information such as self-acceptance information, visual information, knowledge acquired by learning, and actual experiences. In Goodenoughs test, the number of people who are precisely drawn with the outline of a head and the correct number of fingers, etc. is emphasized. Children who draw very numerous factors obtain a high score, but it is not to say that the children who draw the most detailed portraits are the children with the highest intellect. There are several parts that are insufficient in this measurement method, and the majority of researchers voice objections about the validity of this test. In spite of this, the reason why the use of this test has rapidly progressed is because this test had the following advantages. They are: being able to see the correlation with other intelligence tests, that it can be easily implemented, and that it promotes communication with children. Because the DAM is an action test, it can be used to measure the intellectual level of linguistically-challenged children and hearing impaired children. In addition, if limited to subjects whose mental age (MA) is below 9 years old, expanded use is possible not only for children but also for mentally-challenged adults and for behaviorally-challenged adults. The psychological measurement approach, which DAM represents, is effective depending on its method of use. Again, it has a large significance for eventually giving rise to a projection method, Machover. Ks Personality Projection in the Drawing of the Human Figure. The projection approach is a method that can close in on the interiority of the drawer. The drawing tells more about the drawer himself or herself rather than the subject that was drawn. Even when drawing a tree, more than the tree itself, which is the subject of the drawing, the psychological state of the drawer is drawn into this. This tendency is especially strong in children. Drawing is a symbolic expression of the inner psyche (the unconscious). The unconscious part of the psyche can appear through symbols (drawing). Drawing is a direct communication from the unconscious, and it cannot be camouflaged as easily as in the case of communication with words. When a drawing appears from the unconscious, a vast amount of psychological information is generated, and the depths of the drawers psyche can be felt through the drawing.
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In order to read into pictures, firstly, it is important to constantly pay attention to the first impression of a drawing. Rather than interpreting a picture, it is more important to emphasize the first feeling that the reader had. The person who interprets must become conscious of the impression that he or she feels, and must keep this information until much later. Sometimes, there is a possibility that the first impression that was felt means that there was close contact with the drawers unconscious world. Also, instead of putting the focus on finding symbols, there is a need to look at the picture as a whole. The integrated whole is larger than a total sum of its parts. This is called the "preeminence of the whole. At an early age, the themes of the drawings are secondary, and the drawing activities are performed in a dimension where the entirely psychological and physical activities are united. However, when children become slightly older, the theme becomes more important. When a single symbol or theme appears repeatedly in a single drawing, it merits attention, and there are instances in which there are hidden meanings behind them. This is because unconscious thoughts, feelings, and actions are the root source of symbols and themes. As well, with regard to free drawing, the interests and needs in the depths of the child's heart can be understood by how the themes are chosen. In a study in Florence, the drawings of children from grade 1 to grade 5 were studied, and an interesting tendency was found. According to this, "houses" were depicted in 60% of the free drawings drawn by children aged 6 and 7, and in these drawings, there were very few objects depicted other than the "house" (such as trees and flowers). What the "house" symbolizes is the "emotions and stability that are achieved by life in the home, a place where basic needs are pursued", and in the childhood in which the home accounts for a large portion of one's life, the "house" is often depicted. And by 10, 11 years old, the "house" becomes only one item in a wide composition that includes "trees", "flowers", and the "sun", which symbolize needs of the world that extends beyond the range of the home. It can be understood that this kind of smooth transition takes place because, as the range of interests grows wider and that needs that extend beyond the home arise, they are gradually released from the strong family ties of childhood. As well, the drawings that have a characteristic of projection are, at the same time as being an analytical tool, also an effective diagnostic and treatment method.
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Researchers who take a scientific stance have held doubts about the projection method. In truth, it cannot be denied that the subjective factors of the reader have a great influence when analyzing the pictures. However, although the projection method certainly cannot satisfy the standards of reliability and validity as a psychological analysis, it is an important tool for experienced clinicians. Once one becomes accustomed to its usage, it becomes possible to pursue clues that cannot be compensated by standardized tests, and at the clinical site, the therapist can, at the same time as creating a rapport with the drawer with the pictures as a medium, the therapist can also understand the personality of the drawer. For the drawer as well, drawing pictures is an effective method to release one's mind. The symbols help the state of the mind to transfer from the unconscious level to the conscious. Pictures that are symbols recount something extremely deep and complex, so with a consciousness that, itself has limits, it cannot immediately understand everything. It is normal for the symbol (drawing) to carry aspects that are unknown or indecipherable, and there are times that the drawer himself or herself cannot understand the drawing that he or she drew. However, by using pictures, it is possible to exchange information within the realms of the mind that are expressed or repressed. Drawings release mental energy that was unconsciously repressed. From this mental energy, even people faced with difficulties may be able to overcome their problems. It could be said that it is basis for which drawing is used as a psychological treatment. However, the therapist is dealing with an individual and the pictures are only a medium for communication. The analysis of pictures is a system that allows people to become more conscious, and if the conscience is expanded, the contents of unconscious would be spared from being abused and ignored. They would be valued, and be integrated into the lifestyle. If that were to happen, people would be able to establish characteristics that suit themselves and live their remaining time as more complete human beings.

Historical Perspective:

Childrens art is commonly a central feature in early childhood classrooms. Adults readily display the art of young children in prominent locations for others to admire. A review of the early childhood art education literature offers ways of seeing the child as artist. Artistic learning is complex in and of itself, and to further complicate matters, art education has not progressed in a linear fashion and lacks a unified organizational structure. However, the place of art in the curriculum and the best way of teaching art to young children are central debates within the field of early childhood art education. There should be an emphasis to art education within the field of early childhood education, pedagogical relationships between art education and its location within early childhood education, and the marginalization of young childrens experiences with the display of their own artwork within the literature, supporting the need for better understandings of the concept of the child as artist. Within the field of early childhood art education, two central debates exist: (1) the place of art in the curriculum; and (2) the best way of teaching art to young children. Although art education practices vary widely, three major approaches to teaching art in Western nations can be broadly categorized as progressive, discipline-based and contemporary . Each approach offers very specific views of young children and the place of art within the wider school curriculum. Progressivism Following the industrial developments of the late 18th century, the social progressive attitude of modernists influenced formal education practices. Philosopher Jean-Jacques Rousseaus (1762/1991) Emile presented the naturally developing child, and later the progressive work of John Dewey (1915) legitimized arts as an educational experience which focuses on social activity. Progressive approaches to art education encouraged students to have freedom of choice within a structured setting. Freudian psychology led to investigations of the childs mind and intelligence. In the early 20th century the work of psychologists Jean Piaget and Erik Erikson, which investigated childrens reasoning ability at different ages, provided two dominant approaches to studying the naturally developing child (Cleverley & Phillips, 1976). With these two child development theories, the age/stage grouping asserted that progress is marked by a childs natural ability to complete tasks on the way to reaching maturation (James et al., 1998).
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Influenced by Piagets (1950) theory of child development, art educator Victor Lowenfelds book, Creative and mental growth (1957) endorsed child-centered art education with the articulation of a stage theory of childrens art development. Lowenfeld & Brittains (1970) approach has been identified also as laissez-faire, as it focuses on artistic expression through natural-unfolding behaviors. Developmental theory, which dominated early childhood education and in some cases continues to dominate contemporary educational settings, is the foundation of the progressive approach. Therefore, the theories of Lowenfeld & Brittain (1970) continue to heavily influence art education in schools today. Progressivism has been criticized for its lack of interactive learning, with further research into childrens artistic learning style advocated guided learning from an early age as opposed to through a childs natural development. Eisner (1988) argues stages of development that educators refer to underestimate what children are capable of producing. As a result, a discipline-based approach to art education emerged. Discipline-based Art Education In the 1960s, debates arose around the rationale for teaching art. Instead of teaching art like a form of creative self-expression as in the past, art educators promoted the idea of art as a discipline (Efland, 1990). The focus of art education moved from child-centered to subjectcentered with the development of discipline-based art education (DBAE) by well-known American art educator Elliot Eisner (Efland, 1990). Advocates of DBAE believed that art should be considered equal to all other subjects within the curriculum. DBAE focused on the study of art history, criticism, and aesthetics, along with the production of artwork (Eisner, 1988). DBAE melded well with the emphasis on developmentally appropriate practice (DAP) by early childhood educators and National Association for the Education of Young Children (NAEYC) (Bredekamp, Copple, & National Association for the Education of Young Children, 1997). The discipline-based approach justified the place of art within the curriculum by replicating existing models for traditional subjects, and also offering a holistic approach to art education (Eisner, 1988). Eisner (1988) asserts that the artwork of children is a non-verbal language, making it as significant as verbal language and the overall development of the child. Originally critiqued for having too strong of a focus on the production of artwork (Kindler & National Art Education Association (U.S.), 1997), Eisners (1988) discipline-based art education broadened art
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experience beyond the art studio and developed stronger integration of studio approach into components of the curriculum (Greer, 1997). Display of artwork is not overtly discussed as part of DBAE; rather it is alluded to as part of the evaluative process of the curriculum, teaching and the outcomes of the program (Eisner, 1988). In comparing the progressive (child-centered) approach and discipline-based art education Jeffers (1990) notes that the role of the teacher in both approaches is minimal. With progressivism, the teacher does not intervene with the childs artwork; with DBAE, the teacher manages the prescribed curriculum with little interaction with the childs artwork (1990). In addition to progressivism and DBAE, more contemporary approaches to art education have developed (Efland, 1990). Contemporary Approaches Generally, the emergence of Postmodernism in the 1980s promoted art as social reconstruction (Efland, 1990). Art was viewed as another way to transform society by celebrating diversity in art curriculum. Art educators began to build curriculum around concepts such as multiculturalism, feminism, and popular culture (Efland, 2002). Two of the main approaches are community-based art education and the Reggio Emilia approach to art education. Community-based Art Education Community-based art education (CBAE) for young children emerged out of DBAE (Efland, 1990). The new CBAE curriculum linked art to human and cultural experience (Congdon, Bolin, & Blandy, 2001). Postmodern art educators challenged progressive approaches to art education. Lowenfelds (1970) universal stages of artistic development were brought into question, as art educators debated the future of art education (Efland, 2002). In addition to traditional media, new media (e.g., art that does not fall within conventional art areas, such as video art) sought a place within art education curriculum (Efland, 2002). Some contemporary approaches include school-wide art projects (Hinde, 1999), communitybased art (Aprill, 2003), the artist-in-residence model (Grant, 2003), childrens responses to professional artists (Campus Kindergarten (Brisbane Qld) & University of Queensland University Art Museum, 2003), after school programs for at-risk youth (Hogan, Munro, & McLean, 2005) and museums learning (Piscitelli, 2001; Weier, 2000).

Moderns Analysis of Childrens Drawings:

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This paper presents part of a work aiming at building of a tool for the detection of graph motor difficulties involving disorders in the writing of children. We have defined an experimental protocol containing exercises, like copying figures or writing sentences under different conditions. It allows to measure simple aspects of graphomotor skill up to complex ones. A great number of features were recorded on-lines. We analyze here the method we used to select twolevel features that can describe the automation level of graphic activity. It is based on hierarchical clustering of features and sequential forward selection. Every exercise is represented by two relevant features at least. We show that, in most cases, the selected features allow to recognize the school level of children having a regular schooling but to discriminate children with scholar difficulties as well Childrens drawings about reading and writing have unrealized potential for helping uncover the literacy narratives students bring to school and use to make sense of reading and writing. In this article, we highlight how one boys drawing about literacy revealed his interpretation of his schools policy on violence as a topic of writing, which tended to constrain his interest in writing. His drawing reinforced the importance of adopting multiple perspectives to interpret the various texts that students produce. Children have many layers of representational resources available to them. In fact, long before they begin school, and throughout the primary grades, they are uncannily adept at interpreting the world through all of their senses (Berghoff, Cousin, & Martens, 1998). Play, movement, song, and artistic activity are but some of the means by which children learn to make sense of their world (Gallas, 1994). Kresss (1997) very detailed study of his own childrens literacy learning was seminal in providing evidence of the dynamic and flexible nature of childrens meaning making and their ability to move seamlessly from one sign system to another. In this research, we use a multimodal approach to learning, which assumes that meanings are made, distributed, received, interpreted and remade in interpretation through many representational and communicative modes not just through language (Kress & Jewitt, 2003, p. 1). In communicative practices, modes rarely occur in isolation. Instead, participants move effortlessly from one mode of communication to another, transporting information across social boundaries (Dyson, 2001). Rather than viewing modes of communication other than speech and writing as add-ons in theories of learning, a multimodal approach begins from a theoretical position that treats all communicative modes as potentially equal in their contributions to learning (Kress & Jewitt,
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2003). We also adopt Vygotskys (1978) socio-cultural theory as the basis for our conceptual framework. Specifically, he viewed drawing as a way of knowing, as a particular kind of speech, and emphasized the critical role of drawing in young childrens concept development, particularly because the drawing event engages children in language use and provides an opportunity for children to create stories. He argued that the transmission and acquisition of cultural knowledge such as literacy takes place on an interpersonal level between individuals before it is internalized.

Contemporary Analysis of Children Drawing:

In this study, we try to detect mentally retarded children at an early age. In our experiment, we would not ask them doing something nor making question-answer test. We only analyze their facial expressions after displaying feedback image so that even a little baby could be examined. As a result, it was provided that Enjoji-method for infant development test and experiment data has similar evaluation degrees. Assessing the recognition intelligence of mentally retarded children by this study, we will be possible to use it practically as a new type of childs intelligence measuring device. Therefore the possibility for the brains recovery is higher and could also increase the childs ability. Differences between abused and nonabused children were investigated to determine the validity of human figure drawings as projective measures in children. Published literature on child abuse and human figure drawings was explored and showed mixed data, including significant differences between the drawings of abused and nonabused children. Clinical, practical, and ethical issues for clinicians are discussed. Many young children lack the cognition to acknowledge and successfully process traumatic events. They are internally conflicted and may be unable to verbally communicate the traumatic events they have experienced (Miller, Veltkamp, & Janson, 1987). When investigating possible abuse in children, art functions as a nonthreatening tool for communication between client and clinician (Stember, 1980). Variations of art communication serve as therapeutic tools through encouraging symbolic interaction in creative form (Naumberg, 1987). For these children, art allows processing and healing to occur on the level of the child (Stember, 1980). Such techniques integrate thoughts and feelings with artistic expression, rather than developmentally dependent oral or written forms of communication (Naumberg, 1987). The use of human figure drawings successfully allows unconscious motivations to present themselves in safe ways for client
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processing (Miller & Veltkamp, 1989). Consequently, belief in unconscious motivations is vital to the administering and interpreting of human figure drawings (Miller & Veltkamp, 1989). When administered and analyzed, differences between the artwork of abused and nonabused children were found (Hjorth & Harway, 1981). The finding of such distinctions indicates that human figure drawings have the potential to provide helpful information in assessing the functioning of a child (Goodenough, 1926). Specifically, projective drawing techniques allow for the evaluation of relationships and interactions in the childs life (Koppitz, 1968). Ethically speaking, when evaluating such clientele, only clinicians carefully trained and knowledgeable in analysis should interpret projective drawings (Miller & Veltkamp, 1989). The use of projective drawing techniques is supported by results from various studies. One such study on human figure drawings reported that when sexually abused children were evaluated, each child focused on genitalia in his or her drawings (Sturner & Rothbaum, 1980). Sexual anatomy in these drawings was often depicted in great detail (Thomas, 1980). Drawings done by children who were victims of incest tended to minimize or exaggerate features of a sexual nature (Yates, Beutier, & Crago, 1985). Sexually abused children, as an umbrella categorization, have been found to draw perpetrators with obvious phalli (Goodwin, 1982), while young children of sexual abuse often depicted anatomically correct male genitalia (Hagood, 1992). Blain, Bergner, Lewis, and Goldstein (1981) grouped selected children into the following three groups: those who reported being abused, those having no history of reported abuse, and the normative sample consisting of children selected at random, without regard to abuse history. The samples of abused and nonabused children were made with regard to reported abuse history. All children were selected through their participation in outpatient therapy for emotional difficulties. The normative sample was used to reference the general population. After analyzing the illustrations, results indicated that the scores of abused children differ significantly from those of children in the nonabused and normative categories. Abused children depicted the size of legs and/or arms as disproportional when compared with one another. They tended to omit feet from human figures and depict the size of a figures head disproportionately in relation to the remainder of the figure. Additionally, the abused children who were evaluated composed the human body of a series of geometric figures. Hjorth and Harway (1981) found abused childrens figures to be less symmetrical than those of children who had not encountered abuse. Hibbard, Roghmann, and Hotelman (1987) found when
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comparing drawings of sexually abused and non-abused children that sexually abused children were more likely to draw sexually explicit features than those who were not abused. Sexual themes appear to inundate the artwork of sexually traumatized children. When 120 drawings of sexually abused children were analyzed, 40% placed added emphasis on the pelvic region and 20% portrayed defined genitalia (Kelley, 1984). Human figure drawings of children ages 512 who had not encountered sexual abuse included genitalia, with less then a 1% prevalence of defined genitalia (Koppitz, 1968). When additionally prevalent manifestations in figure drawings were investigated, abused children were more likely to draw the legs of a figure pressed together, possibly indicating an attempt to control sexual desires or to prohibit sexual attack from others (Koppitz, 1968). Knowledge beyond the childs years may be evident through emphasized genital or breast areas, or the depiction of sexual contact between figure drawings. When determining what falls within an acceptable range of sexual knowledge, one must take into account both socialization and developmental norms (Miller et al., 1987). Emotionally speaking, drawings from children who were sexually abused depict significantly more anxiety than do drawings of nonabused children (Hibbard and Harman, 1990). There are, nevertheless, criticisms of human figure drawings and other projective measures. Cohen and Phelps (1985) conducted a study that independently selected and evaluated 40 sets of drawings. Drawings and checklists were distributed and images were evaluated according to the presence of specific features. Each drawing in the study was distributed to two evaluators and the results compared. Evaluator reliability was then computed by dividing the number of pair agreements by the total number of agreements and disagreements. The average reliability between evaluators was 42%, illustrating poor reliability with regard to the analysis of projective human images. Howard (1962) concluded the cycle of inference, especially when interpreting projective measures, to be subjective and innately invalid. Thus, while the childs freedom to communicate is enhanced through techniques using art, practitioners are likewise presented with ambiguity. Such ambiguity possibly leads to greater freedom on the part of the clinician and consequently, a greater rate of error in interpretation (Miller & Veulkamp, 1989). Of additional importance is the cultural sexualization of children. What is normal for a childs sexual knowledge in one time period, geographic region, or socioeconomic division may have been abnormal years before, in a neighboring area, or different economic
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bracket. The use of projective measures, without regard to contemporary culture, remains a hindrance to the assessment process (Hagood, 1992). Unfortunately, many times after drawings are completed, children are not asked to reflect upon their own creations. Children, as active participants in life, often have the greatest insight into the drawings they have created. Frequently within clinical settings when such illustrations are evaluated and used as assessment tools, only one drawing is examined, thus failing to evaluate the larger, more accurate, scope of the child. Children often find art to be a starting place for initiating verbal communication. After engaging in the creation of human figure drawings, the therapeutic process is just beginning. When interpreting a childs drawing, analysis should include not only the clinicians introspection, but also the childs description. While engaging in expressive activities, children often feel at liberty to discuss their art, and to talk freely using their creations as guiding mechanisms (Miller et al., 1987). Consequently, because drawings are the childs way of communicating with the clinician, the responsibility of being knowledgeable insofar as benefits, hindrances, and interpretations of human figure drawings is an essential component of the competent clinician (Miller et al., 1987).After drawings are created within the therapeutic setting, they become a part of the childs permanent record and can be used effectively to compare the childs growth along various points in the therapeutic continuum (Miller et al., 1987). Clinicians have the ethical responsibility to use drawings in collaboration with other evaluative material, because drawings alone should not be used as a final determinant, but as a tool to alert clinicians of possible abuse. Reference: http://drawing.feedbucket.com. http://www.liftingtheveil.org/drawing.htm. http://www.matsuishi-lab.org/childrenpicturesummaryJ_E.html. Reference of articles are given with articles.

Interpretation

My client is seven years of age and he is youngest in the family. Client has three siblings. My client is a stable person and he is living a healthy life. My client drawings show sturdy self esteem and have intact personality. He has an optimistic 14

apparition and seizes every prospect he acquire. His drawing also projects him to be mentally and physically a healthy individual. He had a strong ego and he is intact with reality, at the same time his fantasy world is also well. Anxiety is revealed. Immobility is shown in the personality. He is a normal vigorous person and he is living a vigorous and fine life.

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