Interpreting ChildrenÕs Human Figure Drawings

Interpreting ChildrenÕs Human Figure Drawings:

Basic Guidelines for School Counselors
Yuehong Chen Foley ¥ Fran Mullis

Yuehong Chen Foley, Ph.D., is a Behavior Interventionist at Cedar Hill Elementary School,
Gwinnett County Public Schools in Lawrenceville, GA.

Fran Mullis, Ph.D., is Associate Professor Emerita at Georgia State University.

Correspondence regarding this article should be addressed to [email protected], or [email protected].

Special thanks to Ms. Jan Waring and Dr. Lauren Wynne for their supportive reviews.

Abstract allows students to experience rather than verbalize

feelings, and, therefore, may be more effective in helping
The literature was reviewed and summarized to provide children accomplish counseling goals (Withrow, 2004).
common interpretations of human figure drawings. Coleman and Farris-Dufrene (1996) found that children
Basic guidelines for interpreting human figure drawings tend to be receptive to art therapy, because art is one of a
(i.e., face and head, body, arms and hands, and legs and child’s natural ways to engage in creative self-expression,
feet) are presented. Expectations for students at different to explore conflicts, and exercise control over perceived
developmental levels (ages 1½ through adolescence) are realities (Kramer, 1979; Naumburg).
identified, and the influence of artistic talent is discussed.
Two children’s drawings from case studies in a school Art activities provide a safe and enjoyable means
setting are interpreted. Ethical considerations such as that encourage children to explore, make decisions,
privacy, confidentiality, displaying drawings, and keeping and solve problems (Allan, 1987), and provide a way
drawings for documentation are summarized. for them to portray their inner world without having
to rely on words (Gil, 2006). Kaplan (2003) and Gil
suggest that although research on art-based assessments is
Interpreting ChildrenÕs Human Figure Drawings: inconsistent, drawings can help counselors increase their
understanding of the client, and Carmichael (2006) states
Basic Guidelines for School Counselors that drawings frequently are used as informal assessments
Many counselors and psychologists believe that all for understanding children’s struggles and their internal
people convey something of their emotional state when world. Drawings also can be used to help the child gain
they draw a picture and that this information can be insight and to review progress through drawing records
used in counseling. Drawings can be used in school (Withrow, 2004).
settings with students who are struggling with normal When a child transfers the picture in the mind onto
developmental issues. Children’s drawings are indicators a piece of paper, the drawing becomes an external object
of emotions, self-esteem, and social competence, as well that the child can use to gain control and mastery (Webb,
as other aspects of personality (Di Leo, 1973; Malchiodi, 2004). Processing the meaning of the drawing may
1998), and are a way for children to call attention to topics reinforce the child’s self-exploration and motivation to
that are personally important or emotionally significant change (Riley, 1994), and this effect may continue long
(Thomas & Silk, 1990). after the counseling ends (Wadeson, 1980). An effective
Strong emotions emerge in the form of images instead interpretation helps the child to accept the painful
of words (Kramer, 1973; Naumburg, 1973). Drawing thoughts and feelings and resolve internal conflicts
(Whitmont, 1969), allows the counselor to tentatively

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 Interpreting ChildrenÕs Human Figure Drawings
generate hypotheses for working with the child (Furth, interpretation (Lenore, 1993). There are many types
2002), and facilitates collaboration between counselor of drawings; however, only human figure drawings are
and child in exploring and understanding the meaning of discussed in this article.
the drawing (Crenshaw, 2006).
When students are referred to the school counselor
because they are struggling academically, personally or
Factors to Consider in Formulating Hypotheses
socially, the counselor must quickly determine what the When making hypotheses about children’s human figure
student is experiencing and decide how best to intervene. drawings, there are three areas for school counselors to
When the specific issue underlying the concern is difficult consider: the student’s developmental level, his/her talent
to assess, children’s drawings can be helpful in providing for drawing, and common interpretations of elements in a
hypotheses. Interpretation is used only to generate drawing. The drawings described for each developmental
hypotheses (Anatasi & Urbina, 1997; Gil, 2006; Gregory, level are examples of what healthy children would draw.
2000) rather than to diagnosis. As Anastasi (as quoted in Counselors need to keep in mind that the developmental
Thomas & Silk, 1990) states, projective indicators such as levels may overlap with regard to age range and that
drawings “serve best in sequential decisions, by suggesting children tend to fluctuate between the stages (Malchiodi,
leads for further exploration or hypotheses about the Kim, & Choi, 2003).
individual for subsequent verification” (p. 116).
Di Leo (1983) states that “drawings are one means of Developmental Level
establishing a rapid, easy, pleasant rapport with the child”
(p. 4). Children who are shy, quiet, impulsive, have speech One and one-half years to five years. At about 18 months
and language difficulties or speak a different language of age, children begin to make marks on paper. Luquet
from the counselor usually respond well to drawing (as cited in Thomas & Silk, 1990), and Piaget (as cited
activities (Klepsch & Logie, 1982). Drawing may be in Thomas & Silk) both regarded these early scribbles
especially helpful when working with children from other as pure play and exercise, rather than attempts to draw
cultures, because it allows children to communicate with pictures. Usually around the age of 2 or 3, this scribbling
others across barriers of language and culture and helps begins to be interpreted as a picture, although the child
to establish understanding between themselves and adults waits until the drawing is complete and then states what
(Cochran, 1996; Gil & Drewes, 2005). Gil and Drewes the drawing represents. People and animals are typically
state that art activities are especially useful for some ethnic drawn using a tadpole schema, with a circle for the head
populations that prefer metaphors and symbols over or for the head and trunk, and two dangling lines for legs.
verbal communication, and for children who may not be Facial features and arms may be included, but the figure
comfortable talking about experiences because of family has the look of a tadpole. Children are unaware of color
messages or beliefs. The act of drawing can be therapeutic choices and typically use whatever color is close at hand
even if the child does not talk about the picture. Although (Malchiodi, 1998).
art in general is less limited by cultural differences between Five years to eight years. According to Luquet (as cited in
counselor and client than talk therapies and interventions, Krampen, 1991) and Di Leo (1983), intellectual realism
Carmichael (2006) cautions that counselors need to be begins around 5 years of age. During this stage, children
aware that some religions, such as Islam, prohibit children draw what they know about reality and sometimes
from drawing human figures. Children from some Asian depict the outside of a house, as well as what is inside
cultures are uncomfortable with drawing spontaneously the house, because they know that furniture and pictures
and might prefer to begin by copying a drawing (Gil & are there, or they might show a person’s arm even though
Drewes). It is important to encourage children to draw it is hidden by the body. This type of drawing is called
without violating their cultural or religious values. transparency or X-ray drawing (Di Leo, 1983; Krampen;
Although many school counselors have little or no Malchiodi, 1998) and might depict something that is not
training in art interpretation, they can learn basic observable in the real world (Thomas & Silk, 1990) such
guidelines for hypothesizing possible meanings behind as a bird with a worm in its stomach. Rubin (2005) states
what the student draws. A general understanding of the that around the time formal schooling begins, children
child’s situation, affective expressions, and verbalizations, find preferred ways of drawing things and repeat them.
as well as the actual drawing, assist in making an Children begin to connect color with what they see in the

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 Interpreting ChildrenÕs Human Figure Drawings
world around them, but it is difficult to know if the colors Drawing Talent
selected have a specific meaning, if they reflect what is seen
in the environment, or if they indicate experimentation Winner (as cited in Thomas & Silk, 1990), states that
with different colors (Malchiodi). normal children with artistic talent advance through
drawing development in the same sequence as do normal
The scaling and details of pictures become more realistic children without artistic talent, but they do so more
during this stage. Children typically stop drawing tadpole rapidly. According to Winner, all children go through a
human figures and instead draw a head, a separate trunk, pre-conventional stage where their drawings are simple
attached arms and legs, and details such as hands, fingers and expressive, although artistically gifted children use
and clothing (Thomas & Silk, 1990). Children sometimes fewer simple shapes and more fluid contours. After age
revert to earlier stages and in the same picture might draw six, all children move to a conventional drawing style.
one person using a tadpole schema and another using a Most children do not advance beyond this stage; however,
more advanced mode of representation. artistically talented children, she argues, continue to
Eight years to adolescence. Luquet (as cited in Krampen, improve their drawing quality, usually achieving a unique
1991) and Di Leo (1983) note that children at this stage style by early adolescence.
produce visually realistic drawings which correspond to When making interpretations about a student’s artwork,
the stage of concrete operations. Children begin to use the school counselor must consider the over all quality
perspective and draw only what is visible from a certain of the drawing. A student who is artistic might add
point of view. For example, children would not draw the picture elements that would ordinarily signal a concern
outside of a house and show furniture inside, because to be explored. For example, a student might erase and
they know you cannot see furniture from the outside of a redo some parts of the drawing and or use shading and a
house. Children tend to develop rules for the use of color, variety of line types. In some students, this could indicate
such as brown or black for a tree trunk and green for the insecurities or conflicts, as discussed in the next section.
leaves. Unusual color use may have more significance at For students with drawing talent, such details might not
this stage than at earlier stages (Malchiodi, 1998). indicate a problem at all (Thomas & Silk, 1990).
Many elementary school students willingly draw pictures
at the request of a school counselor or other adult. Around
10 years of age, children begin to become dissatisfied, Common Interpretations of Human Figure
discouraged and self-critical with their drawing attempts, Drawings
probably because they are unable to draw as well as they Several researchers have suggested interpretations
would like (Rubin, 2005). At this time, children tend associated with particular body parts. In general, children
to draw cartoon or comic-strip characters, and their typically over- or under-emphasize a body part that is of
drawings are somewhat stereotyped, or conventional concern to them. Drawings indicate that a body part has
(Thomas & Silk, 1990). Middle and high school students, significance for the child if it is overemphasized through
as well as some older elementary students, sometimes enlargement, more detail, or a use of heavy lines, or if it
hesitate to draw because they doubt their artistic ability is underemphasized by a reduction in size, little detail, or
and are critical or self-conscious of their finished product a use of faint lines.
(Van Fleet, 2004). To encourage reluctant students to
draw, Van Fleet suggests that school counselors draw Head and face. It is common for pre-school children to
“goofy” art and invite the student to add to the drawing. draw the head disproportionately large; however, by age 7
According to Koppitz (1984), young teenagers who are or 8, the head is usually drawn objectively proportionate
language-impaired and view the visual-motor area as a to the body (Di Leo, 1983). Children older than 7 or
strength, immature adolescents, and artistically talented 8 who draw large heads on their figures often wish they
adolescents continue to take pleasure in drawing. When were smarter and better able to achieve (Klepsch & Logie,
formulating hypotheses from a student’s drawing, one 1982). Achievement concerns also may be indicated when
must consider the student’s drawing talent, as well as his figures are poorly integrated, for example, when the head
or her developmental stage. does not join the body. Koppitz (1968) states that a very
tiny head on a drawing points toward intense feelings of
intellectual inadequacy. The mouth can reveal happiness
or sadness with a smile or a frown, and emphasizing

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the mouth can indicate speech and language difficulty, relationships. Both Koppitz and Di Leo (1973) view big
or being overly dependent (Klepsch & Logie). Drawing hands as indicating aggressiveness. Children who are
teeth (especially if there are many pointed teeth) is a sign aggressive often draw fingers that end in points and look
of aggressiveness and in some cases may indicate physical like claws or talons.
abuse (Peterson & Hardin, 1997). Timid children Legs and feet. Drawing the legs close together indicates
typically do not draw teeth. According to Koppitz (1968), tenseness, an attempt to control sexual impulses, or
however, drawing a few teeth could indicate leadership a concern about a sexual attack by others (Koppitz,
abilities rather than aggression. Klepsch and Logie also 1968). Koppitz reported that in her studies, several
provide common interpretations for drawings of the girls who had been sexually abused by older men drew
nose, ears, and eye. Emphasizing the nose can be a sign people with their legs pressed together. Thomas and Silk
of respiratory problems. When the ears are emphasized, (1990) also maintain that drawing legs pressed together
a hearing problem could be present, or, if there is no is an emotional indicator. Drawing the feet very large or
hearing problem, the child may be suspicious of what heavily outlined may indicate that the child seeks security
others might be saying about him or her. Drawing eyes or a firm footing, while tiny feet can be an indicator of
with no pupils can point to visual problems but also can feeling insecure or helpless (Klepsch & Logie, 1982).
suggest that the child has trouble meeting and socializing
with people. According to Peterson and Hardin, drawing In addition to the factors discussed previously, other
Xs for eyes could indicate physical abuse. Large eyes hint indicators should be attended to when making hypotheses
at suspiciousness. Adolescent girls commonly give eyes about a drawing. These indicators pertain to the techniques
cosmetic embellishment (Di Leo, 1983). used, and the child’s approach to the drawing.
Body. Di Leo (1983) interprets the presence of a belly Heavy lines are frequently associated with children
button in drawings by children up to age 6 or 7 as suggesting who are aggressive, forceful, and have high energy, while
dependency, while after age 7 a belly button may signal light lines are often associated with shyness, inhibitions,
too much dependency on others. Drawing the person insecurity, and low energy (Di Leo, 1983; Klepsch &
turned to the side can indicate evasiveness, and drawing Logie, 1982). Boys typically use heavier lines than girls
sex organs can indicate aggressiveness or body anxiety (Klepsch & Logie). Excessive erasures (Klepsch & Logie)
(Klepsch & Logie, 1982). When genitalia are explicitly and shading (Di Leo, 1983; Klepsch & Logie; Koppitz,
drawn, it is a strong indicator for sexual molestation. 1968) are related to anxiety, with increased shading
Young children tend to draw explicit genitalia, while older pointing toward increased anxiety. According to Koppitz
children conceal the genitals in order to cover up sexual (1968), shading the face is very significant and indicates
abuse (Peterson & Hardin, 1997). According to Homeyer concern about the part that is shaded, but shading is age
(2001), some drawings associated with sexual abuse may related and is fairly common up to age 8 for girls and
include, but are not limited to the following: torsos with 9 for boys; after that, shading is more likely to indicate
blood running down legs, two people in bed with dots, concern for the shaded body part. Transparent body parts
displaced body parts, large parts of the body crossed out, can suggest anxiety and concern about that body part.
and a figure with a large open mouth.
Arms and hands. According to Klepsch & Logie Guidelines for Interpretation
(1982), long or large arms imply that the child wants to
control others and desires strength and power, although Clients need a safe and private psychological
Koppitz (1968) states that long or large arms can signal environment to experience their inner emotions and
a desire to reach out to others. Small arms, state Klepsch resolve conflicts (Egan, 1998). Young children can be
and Logie, point toward a fear of power or of the child asked to tell a story about their picture; however, unless the
seeing him/herself as weak or ineffective. Again, Koppitz child initiates sharing, it is important to not ask specific
takes a different view and asserts that small arms can be questions about the drawing such as “Is that you?”; rather,
interpreted to mean that the child is well-behaved or ask open ended questions or make statements that begin
withdrawn. She states that drawing arms that cling to the with “Tell me about …” For counselors with a directive
body often indicates that the child may have rigid inner orientation, saying “Tell me a story about what you
controls and that it is difficult for the child to reach out to have drawn,” or “Tell me about your picture” may elicit
others; therefore, he or she may have poor interpersonal helpful information that leads to meaningful discussion if
anything in the drawing reminds the child of something

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 Interpreting ChildrenÕs Human Figure Drawings
important in real life (Arlow & Kadis, 1993; Snyder, colors in drawing than others (Cotton, 1985; Gregorian,
1997). For counselors with a child-centered orientation, Azarian, DeMaria, & McDonald, 1996). Outgoing
observation and empathy with an understanding of basic children often prefer warm colors like red and orange
interpretation guidelines may be as effective. and find cool colors not stimulating enough, whereas
introverts are more sensitive to cool, calming colors and
report the warm colors to be distressing (Birren, 1980;
Overall Impressions of Drawings Mahnke, 1993).
(Klepsch & Logie, 1982) note that “drawings represent Although there is agreement that color is used to show
what a person is like on the day he [sic] does the drawing” feelings, mood, or tone in a drawing, there is lack of
(p. 42). Keeping that admonition in mind, first consider agreement on what specific colors represent (Peterson
your overall impression of the picture. Examples of & Hardin, 1997). For example, rather than always
overall impressions are happy/sad, friendly/unfriendly, interpreting red as standing for high emotions or danger
active/passive, and strong/weak. This general impression and black as representing the unknown and fear or
provides an idea of the child’s mood at the time the picture threat, it is more helpful to observe where color is used,
was drawn. Also look for themes over several drawings. If its intensity and quantity, and what it is emphasizing or
the child has drawn more than one picture, a common diminishing (Furth, as cited in Peterson & Hardin). A
impression of sadness provides a stronger indication that child might use a great quantity of black in a drawing and
the child feels consistently sad than does one picture. relate that to the sky at night, as when the family went
Other aspects of the drawing to consider in forming an camping and enjoyed sleeping outside. When the student
overall impression are the use of color, the size of the chooses to share his/her own perception of a problem
people, placement on the page, especially in relationship or solution, the school counselor may join the student
to each other, facial expressions, and indicators of feelings in examining the harmony and balance of colors in the
in the way body parts are drawn (Furth, 2002). Furth drawing, and support him/ her in balancing emotions
suggests three principles in art interpretation: a) keep in and integrating solutions and problems.
mind your initial impression of a picture without sharing
Size of people. According to Di Leo (1983) and Koppitz
so as to allow the client’s associations of inner world and
(1968), children who draw small figures of people (about
drawings to develop, b) act as an open-minded researcher
1 to 3 inches high) frequently are timid, shy, insecure,
to look at focal points systematically, and c) synthesize
and perhaps withdrawn, whereas drawings of very large
what you have learned from individual components and
people that take up most of the page may indicate
assemble this information into a whole. School counselors
children’s aggressiveness with poor inner controls. Di
can use these three principles to identify the focal points
Leo (1973) asserts that when children draw some people
in the drawings and what can be learned from them.
proportionately larger than others, it could connote that
Suggestions for interpreting drawings will be discussed in
the larger drawn person is important to the child in some
the following sections.
way, or it could also mean that the person is aggressive.
Use of color. Developmental norms exist for the use of Rezinkoff & Rezinkoff (as cited in Carmichael, 2006)
color in children’s art as noted in an earlier section. Color studied black and white children’s family drawings and
has profound effects on the emotions, behavior, and found that in low-income families, the oldest child was
body (Clark, 1975). Through the use of colors, the client often drawn in a more dominant position than other
can release various moods and emotions that could not siblings.
be expressed by words (Withrow, 2004), thus the work
Placement on the page. Placing figures at or near the
in color becomes a powerful tool for emotional balance
lower edge of the paper may be indicative of feelings of
(Mahnke, 1993). According to Mahnke, the overuse of
inadequacy and insecurity and a need for support. Di Leo
one color can lead to excessive emotional response, extreme
(1973) states that drawing figures in the upper half of
reactions, and restlessness, whereas, the smearing and
the paper suggests optimism and fantasy, while drawings
playing with bright colors enables the clients to experience
that slant by 15 degrees or more imply imbalance and a
various aspects of their personalities. Depressed clients use
lack of a secure footing. Placing the figure of the person
significantly fewer colors than those who are not depressed
who represents the child doing the drawing close to other
(Wadeson, 1971), and children who suffered recent
figures can mean that the child feels, or wants to feel,
traumas, such as earthquake, chose more red and black
close to that person, or has a desire to be protected by that

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 Interpreting ChildrenÕs Human Figure Drawings
person (Burns & Kaufman, 1972). Hulse (1951) studied Two Case Studies
children’s drawings of family and found the placement
of the child in the family indicates perceived closeness The following two drawings were from individual
to specific persons. Rezinkoff & Rezinkoff (as cited in counseling sessions in 2005, and are presented here with
Carmichael, 2006) found that compared to girls, boys parental permission. In one of the initial sessions, the
more often placed themselves in the center of the drawing child decided to draw and picked the paper and crayon
and omitted mother. from among a variety of choices. The school counselor
instructed the student, “Could you draw a house, a tree,
and a person?” After drawing, the child voluntarily shared
Omissions in the Drawings that “the person in the picture is me,” talked about the
picture, and asked the school counselor to keep the picture.
The omitted elements may be quite significant to the The school counselor used information from the drawing,
individual in representing or symbolizing what is possibly along with observations of the child’s verbalization and
absent from the person’s life (Furth, 2002). Omissions of play, and the parents’ and teachers’ report, to generate a
body parts, just like the under emphasis of body parts, hypothesis and to plan interventions.
tend to suggest under-use and anxiety surrounding that
part of the body. Some common signs associated with the Figure 1 was drawn by a 7 year-old African-American/
omission of a particular part of the body are described Caucasian biracial girl who lost her mother at the age of
next. 4 and who now lives with her grandmother and uncle.
According to the grandmother, this child experienced
Omitting the mouth on a drawing of a person may reveal some interpersonal traumas before school age and was
problems with relating to others (Klepsch & Logie, 1982), in constant fear that her grandmother would die. She
and it may also be a sign of anxiety, insecurity, fears, and refused to sleep alone and always shared the bed with
withdrawal, including passive resistance (Koppitz, 1968). her grandmother. In kindergarten she began to struggle
Omitting the nose may signal feelings of powerlessness, academically, socially, and emotionally. She acted
shyness, or withdrawal (Di Leo, 1983; Koppitz, 1968). anxious and overwhelmed and repeatedly stated that she
According to Koppitz (1968), it is rare for children to hated attending school. She would not do any writing
omit the eyes of the person they are drawing. Children assignments at school nor would she do any homework
who omitted the eyes tended to be nonaggressive, social until the grandmother sat nearby to help. Her frequent
isolates that denied their problems and used fantasy as an crying, screaming, and refusal to follow directions caused
escape. Stone and Ansbacher (as cited in Koppitz, 1968) disruption in the classroom and led her to multiple
found a relationship between the omission of eyes and discipline referrals. In the picture we see a smiling girl in
other organs of communication that suggested a lack of between a house and a tree. In reality she received a lot
social interest (caring, or concern about others). of support from her grandmother and uncle, signified by
By age 10, more than 90% of children draw arms on the house and the tree. The mixed feelings of happiness,
human figures; therefore, the omission of arms is more loneliness, inadequacy, and insecurity were implied in her
significant for children 10 years and older than for drawing. Overall, the person seemed lonely in the picture,
children under the age of 5 or 6, who frequently omit although the warm color (purple) indicates a happy
arms (Di Leo, 1983; Silk & Thomas, 1990). For children mood. She said she felt happy staying in the playroom and
over the age of 6, and certainly for children over the age complained about her lack of control over her crying, lack
of 10, omitting the arms is significant and may mean of friends in her class, and inability to manage the work.
they feel a lack of power and feel ineffective (Klepsch The small size of the person suggests some insecurity and
& Logie, 1982). Omitting the hands implies insecurity timidity; the figure’s large head and small body tends to
and problems in dealing with home, school, and people suggest her wish to be more important and better able to
(Klepsch & Logie). Omitting the legs on a figure implies achieve (Di Leo,1983; Klepsch & Logie, 1982; Koppitz,
a lack of support, and immobility (Klepsch & Logie), 1968). The special attention to the hair curling suggests her
insecurity, and anxiousness (Koppitz, 1968). Omitting need to be cared for and her desire to be good looking. In
feet on a figure typically signals that the child lacks actuality she was often eager to show the school counselor
security or feels helpless (Di Leo, 1973; Klepsch & Logie; her nice clothes and her different hair styles in the early
Koppitz, 1968). mornings. Notice the stick-like arms, the omission of
nose, ears, hands, and feet, and the heavy shading in the

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 Interpreting ChildrenÕs Human Figure Drawings
torso. Each of them implies the lack of security and social members liked her more when she was speaking and acting
interest as well as communication difficulties (Di Leo, like a baby, but she also complained about being treated
1973; Klepsch & Logie; Koppitz). When synthesized, like a baby and not as an important person. She stated
the information revealed in the drawing shows a general that her classmates teased her about speaking and acting
feeling of helplessness and anxiety and a need to feel like a baby and refused to play with her. The omission
important and connected to others. To improve her of nose and ears indicates feelings of powerlessness and
self-confidence and self-control, in the first 2 months, difficulty in communicating with others (Di Leo, 1983;
the school counselor focused on using encouragement Koppitz, 1968). She verbalized that acting like a baby was
and empathy skills with her in individual play therapy an important method in gaining personal significance at
sessions and then placed her in peer group counseling home, but this behavior led to teasing by classmates at
sessions with a focus on practicing social skills. In the school and she felt unsure how to cope with this change.
third and fourth month, the school counselor consulted She expressed her unhappiness verbally and gained some
with the grandmother on using encouragement, empathy, control over this feeling by drawing it on paper. To
and logical consequences at home, and collaborated with support her in coping with this transition, the school
the teacher in designing strategies to support the student’s counselor discussed with the child several ways to build
efforts in building friendships in class. The grandmother her importance in the classroom and at home (e.g,. talk in
reported that the child started sleeping and getting up normal voice instead of baby voice, work quietly, help self
independently, becoming excited to come to school, and others to organize materials) and followed up with her
initiating homework and appropriately solving problems by visiting her class during recess and bus-call times. In
with the neighborhood children. Her discipline referrals the individual play sessions, the school counselor focused
decreased significantly at school, and her behaviors on encouraging her efforts in self-care, self-responsibility,
significantly improved to the present. and respecting the limits. In demonstrating to the mother
Children draw not only to indicate personally important how to conduct play sessions, the school counselor focused
or emotionally significant information (Thomas & on supporting the mother in effectively setting limits,
Silk, 1990) but also to verbalize the meaning of their providing encouragement, and returning responsibility
drawing. Figure 2 was drawn by a 5-year old Caucasian to the child instead of doing for the child what the child
girl. The mother addressed her as “baby” and shared could do for herself. The school counselor also offered one
that she received special privileges without taking much paraprofessional from the child’s class strategies to use in
responsibility because she is the youngest of three siblings the classroom that encouraged the child in continuing
in the family. She received multiple discipline referrals positive efforts and provided immediate feedback for
because she refused to follow the teacher’s directions, misbehaviors. During the 14 weeks of intervention,
withdrew from work assignments, and threw temper the child made significant behavioral and relational
tantrums when things did not go her way. It seems she adjustments and became more confident and cooperative
enjoyed the special privileges as a baby but the loss of such both in school and at home. Her positive behaviors
a special position in the Kindergarten classroom resulted continued throughout the Kindergarten year and into
in her feeling lonely and unhappy: “This is me in Pre-K. first grade even after the intervention terminated.
I am happy. But not any more in Kindergarten now.”
Although she stated the picture depicted her during Pre-K,
it implied personally important information about her
functioning at the time of drawing. Overall, the person Figure 1 Figure 2
seemed happy but inadequate in the picture. The warm
color (orange) indicates a happy mood and an outgoing
tendency; however, the small size of the person suggests
some insecurity and timidity, and the placement on the
lower left edge with a slant implies feelings of inadequacy,
imbalance, and a lack of secure footing (Di Leo, 1973).
The emphasis on the mouth suggests the need for support,
and the large head a wish that she were smarter and more
important (Klepsch & Logie, 1982). In the play therapy
sessions, the child consistently verbalized that family

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 Interpreting ChildrenÕs Human Figure Drawings
Ethical Considerations child may not be a breach of confidentiality, although
school counselors must use their judgment about what
Most school counselors are not art therapists, and is appropriate to display and what could be regarded as a
making a decision about a student based solely on an breach of the student’s right to privacy and confidentiality.
interpretation of a student’s drawing approaches the If school counselors believe it would be inappropriate to
boundaries of professional competence. However, school honor a student’s request to display a picture because of
counselors can be trained to understand the basic themes confidentiality issues, they could tell the student that they
of children’s art and can use the drawing as one piece will keep that picture in a special place but would like for
of projective information in case conceptualization. the student to draw a different picture to display.
Interpretations may, in some cases, signal the need for
a referral to a community-based practitioner. Students
who use drawing as a major communication tool may be Conclusion
referred to an art therapist or therapists with a specialty in
color and drawings, for example. School counselors must Children’s drawings can be used by school counselors
keep in mind other ethical issues concerning drawings in many ways. Through the use of drawings, school
made by students. counselors can build rapport with students, observe and
listen to their thoughts and feelings, discuss important
The Ethical Standards for School Counselors (American issues, design interventions as appropriate, and refer
School Counselor Association, 2004) do not address the students to community resources if necessary. Differences
use of art. The American Counseling Association (2005) in interpretation guidelines emphasize the importance of
Code of Ethics addresses the use of art with regard to formulating hypotheses rather than making hard and fast
storage and disposal of artistic documents and, in both conclusions about a drawing. Cultural factors must also
areas, states that client consent should be obtained with be considered.
regard to handling of these documents. Both ethical
codes address confidentiality and privacy. Confidentiality To develop expertise in the use of art as a means for
is honored, within limits, for any verbal communication personal and professional growth, school counselors can
between school counselors and their clients, and privacy begin with references listed in the reference section at the
issues are considered when talking to students. Hammond end of this article, attend workshops about art therapy, and
and Gantt (1998) posit that artwork is symbolic speech explore techniques that are most useful across cultures.
and should be given the same protection as verbal
communication. If school counselors use drawings to
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