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SELF CONCEPT AS REFLECTED IN ADULTS' SELF-FIGURE DRAWINGS

Conference Paper · November 2012

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 SELF CONCEPT AS REFLECTED IN ADULTS’ SELF-FIGURE
DRAWINGS
Mavis Osei
Department of General Art Studies
Faculty of Art, Kwame Nkrumah University of Science and Technology, Kumasi (GHANA)
menti.cass@knust.edu.gh, adjakoma@yahoo.com

Abstract
Self-concept, comprising the self-image, self-esteem and ideal self, has been noted to begin early in
life and thus several research studies have focused on children and how they use drawings in varied
ways including expressing their feelings and thoughts about events and their self-concept. However,
not much may have been done regarding how adults reveal themselves in their self-figure drawings
except in specific cases depicted by adults who have those disabilities and the clinical set-ups where
some adults are undergoing art therapeutic sessions. This study therefore sought to answer these
questions 1) what indicators are present in adults’ self-figure drawings that reflect their self-concepts?
2) how different are these indicators from those present in children’s drawings? 3) how relevant are
these to teaching and learning? Using a mainly qualitative approach, the research incorporates
content analysis and uses self-report, human figure drawing and Adult Sources of Self-Esteem Scale
as tools for gathering primary data from 97 young adult participants ranging from 20 -25years.
Theoretical framework of the study was largely based on a review of literature on the emotional
indicators in children’s drawings, self as expressed in children’s drawings and indicators in adult self-
figure drawings about some disabilities.
This paper presents the different characteristics of the self-figure drawings that came up and how their
self-concept measured with the ASSEI affected the drawings. I will look at differences in the sizes of
self-figure drawings in adults and how they are different, if they are, from children’s. I also argue that
self-concept may have a correlation with adult self-figure drawing and this is very relevant to teaching
and learning.
Keywords: Self-concept, teaching, learning, adults, self-figure drawings.

1 INTRODUCTION
Self-concept has been described as the sum total of a person’s perceived and desired mental or
psychological, social and physical attributes, as well as the person’s perceived worthiness from these
[1], [2]. It has been noted to begin early on in life [2] and encompasses the self-image, self-esteem
and ideal self [3].
Several authors have noted that children frequently use drawings as a simple tool to express their
feelings and thoughts about events, reflect their intelligence, personality, and their inner world and
also to reveal their self-concept[4],[5], [6],[7],[8],[9], [10],[11], [12], [13].However, not much may have
been done regarding how adults reveal themselves in their self-figure drawings except in specific
cases such as stuttering [14] and deafness [15] depicted by adults who have those disabilities and the
clinical set-ups where some adults are undergoing art therapeutic sessions [16]. The study therefore
will explore the possibility of young adults revealing their self-concepts in their self-figure drawings and
how that can enhance teacher-student relationship and consequently boost learning. This study
therefore sought to answer these research questions 1) what indicators are present in adults’ self-
figure drawings that reflect their self-concepts? 2) how different are these indicators from those
present in children’s drawings? 3) how relevant is this to teaching and learning?

2 METHODOLOGY
2.1.1 Research Design
The quasi-experimental research design was employed in the study since the study was not a true
experiment and qualitative research method specifically Content Analysis was used. Content Analysis
is a detailed and systematic examination of the contents of a particular body of material (such as art

Proceedings of ICERI2012 Conference ISBN: 978-84-616-0763-1

19th-21st November 2012, Madrid, Spain 3724
and transcripts of conversations) for the purpose of identifying patterns, themes, or biases [17]; an
explanation that goes well with my research intent of exploring adult self-figure drawings in order to
identify patterns that may indicate their self-concepts, hence its usage. Descriptive research on the
other hand, which could fit into either qualitative or quantitative methodologies [18] was used to give
an account of data and characteristics about the population and the phenomenon being studied [19].

2.1.2 Population and Sampling

The study was conducted in Kumasi, Ghana. The accessible population for the study was 97 Art
Therapy undergraduates comprising 64 males and 32 females; and one person who did not identify
him/herself on the drawing sheet; who all partook in the study. Convenience sampling was used since
they are my students and it was easy to access them during class. However, purposive sampling was
also adopted for the study especially as regards the sample.

2.1.3 Data Collection Instruments and Procedures

Self-report, self-figure drawing and the Adult Sources of Self-Esteem Scale (ASSEI) [20] were the
tools used to gather primary data for study. The students were asked to write about themselves and
this formed a source of biographical information about them. In addition, the ASSEI was used to elicit
their self-concepts since it has been used to assess self-concept of U. S. college students [21] and
adults [22] and also contains a wider range of potential sources of self-esteem [20].
A modified version of the human figure drawing test was also assigned to the students. Instead of
draw a “whole person”, the students were merely asked to “draw yourself” in any medium. [16] has
noted that “the interpretation of projective figure drawing is without sufficient experimental validation,
rarely yields unequivocal information and frequently misleads the unwary, the naïve, the reckless and
the impulsive….Notwithstanding these limitations the use of the projective figure drawings may be so
fruitful, economical and profound a source of information and insights about personality [Rogers saw
self as the crucial element in human personality and personal adjustment (Purkey, 1988)]…” pp83, 84.
Bearing [16]’s assertion in mind, the sample was assigned the drawing assignment. Observations
were made as they drew their self-figures. After their drawings, they were asked to talk about these
drawings to form the Post-drawing inquiry (PDI), questions asked after drawings [16] Care will be
taken not overreach the analysis and conclusions.
Size of self-figure was measured with a 1 = small size, 2 = average size, and 3 = big size; according to
Levy’s assertion (as cited in [16]) that the average drawing of a full figure is approximately seven
inches long or two thirds of the available space and the quality sign of a big figure being nine inches or
more in height from [23] emotional indicators (as cited in [24]).
Secondary data comprised some literature on the emotional indicators in children’s drawings, self as
expressed in children’s drawings, indicators in adult self-figure drawings about stuttering and deafness
and literature on self-concept.

3 RESULTS AND DISCUSSION

3.1.1 Self-Concept
The essays the students (both male and female) wrote about themselves placed them in two
categories; those who were quiet and withdrawn with few friends and those who were outgoing and
very self-confident. These were related to Carl Jung’s classification of introverts and extroverts
[25].They also wrote about their desired selves; what they wanted to be in future.
For the purpose of the study the categories of Outward self (that is appearance and popularity) as well
as intellect and abilities in the ASSEI scale would be looked at. For a greater part, about 53% of the
males had between 0 and 2 as scores comparing the importance and satisfaction ratings of their self-
concept on the self-concept scale. For the category of their appearance and popularity they seemed
satisfied and they rated those important. Their scores with these were mainly between 0 and
2indicating that they had a positive self-concept of themselves. The females generally had ratings of
between 7 and 10 on the importance aspect of the self-concept scale (i.e. their desired social and
physical attributes [2]) in the areas of appearance and popularity and intellect and abilities. This may
indicate a high concern for how they thought others perceived them in their appearance and popularity
[1], [2]. On the other hand in terms of how satisfied they were of their appearance and popularity and
intellect and abilities while about 55% of them were satisfied (with ratings between 7 and 10), 45%

3725
were not really satisfied (with ratings between 4 and 6) which may indicate their perceived worthiness
from those measures was low [1], [2].

3.1.2 General Characteristics of the Self-Figure Drawings

The results of the drawing exercise showed 43 of the drawings (about 44% of the sample) depicting
full figures. According to [16] a figure which includes the major part of all the four major areas (head,
torso, arms, and legs) of the body is acceptably complete. Twenty-three (23) figures were up to the
bust and 10 figures were drawn to the waist level. Moreover, eight of the drawings were without either
feet, hands or both, five of them were depicted up to the thigh level, three self-figures were illustrated
as being three quarters, one figure without a face, and another figure drawn as if it is seated but no
chair was shown, wearing spectacles, but with no eyes depicted; no nose, only the bridge of the nose
is shown; with no hands, and having only one leg without foot. Three people drew their self-figures
somewhat differently; a hand that was clenched, a stick figure (which bore no name to be classified as
male or female) and a 1000 Dollar bill were presented as their self-figure drawings. Table 1 illustrates
the details of the manner in which the self-figure drawings were made.

Table 1: Characteristics obtained from the Adults’ Self Figure Drawings.

3/4
Gender Full Full figure Bust Head Head Hand USD Stick Incomplete
Figure Figure minus hands to to 1000 Figure
feet/both waist thigh

Male (64) 24 2 5 21 7 2 1 1 1

Female 19 1 4 2 3 3
(32)

Anonymous 1
(1)

It should be noted that even within the full figures, there were variations such as figures with hands at
the back, hands in pocket, one hand in pocket and the other behind and without shirt showing their
chest. Moreover, there were depictions of how some of them were dressed as they made their
drawings and what they wanted to be (their ideal self). One example was the depiction of one of the
students as a 1000 dollar bill. The explanation he gave to this was that he loves money and would
want to go to great lengths to get some since he would be a rich man in future. One principle for
analyzing human figure drawings of children that indicates that what a child is saying in his Human
Figure Drawing may be twofold; an expression of his attitudes and conflicts, or a wish/dream, or both
may apply in this context [23]. Similarly, psychoanalytic theory about what it is in one’s unconscious
mind that rises to the conscious, influencing his or her present perception and subsequently artistic
representation may apply here as well [26]. Thus, from the PDI, it was noted that the drawings
reflected the desired self or ideal self and the actual self of the sample. While some of the sample
especially those satisfied with their appearance and popularity depicted how they looked like when
they drew themselves (perceived selves or self-image), others showed how they wanted to be (ideal
self), indicative of how much importance they assigned to their were perceived [16], [1], [2].

3.1.3 Size as an indicator of self-concept in Adult self-figure drawings

One of the items in the group of items relating to quality signs in the human figure drawings outlined
by Koppitz’s 38 emotional indicators is size. Size was measured according to Levy’s assertion [16] of
seven inches as the average and nine inches or more as big. Twenty-one out of the 24 males who
drew full figures made big figures while 11 females who made full figures drew big figures. Hammer’s
clarification about the size of the drawn concept containing clues about the subject’s realistic self-
esteem, his characteristic self-expansiveness, or his fantasy self-inflation, may hold true in this case.
Alternatively, the explanation for big sizes in children’s self-figure drawings haven been attributed to
either aggressiveness in children or they compensating for their low self-concepts while small
drawings depicted as tiny or weak have been linked to feelings of inadequacy and possibly with
withdrawal tendencies [16] may be useful here.

3.1.4 Distortions and omissions as indicators of self-concept in adult self-figure drawings

Distortions (especially of shapes and sizes) in children’s drawings have been attributed to lack of

3726
knowledge or inadequate concept development about things as they are in the real world but not any
optical or physiological reasons by cognitive theorists. That is, the more a child knows, the more
details his/her drawing should contain [26], [27]. However, there were some distortions such as
elongated arms and omissions such as no feet and no hands in the adult self-figure drawings even
though by the cognitive theorists’ reckoning, the more a child knows, the more details his/her drawing
should contain; and these are adults thereby they obviously know more so their drawings should
consequently contain more details. Indicators such as no feet, hands cut off and big figures have been
noted to be associated with emotional problems or shyness and occur in Human Figure Drawings
(HFDs) of children [16]. Additionally, more often hands cut off, arms without hands and fingers hands
hidden behind back or in pockets are quality signs. This explanation may tie in well with the adults’
drawings since according to [28]’s findings, while figure drawings in adults are not meaningless,
establishing what they mean with precision is usually difficult since there are inadequacies of figure
drawing research. Thus, although adults are supposed to know more some still distort and omit in their
self-figure drawings and this may be indicative of shyness or emotional problems just as could be
found in children.

3.1.5 Correlation between the male and female self-figure drawings

Spearman’s Rank correlation coefficient [29] is a technique which can be used to summarize the
strength and direction (negative or positive) of a relationship between two variables. In other words, it
is a device used to show whether any one set of numbers has an effect on another set of numbers. To
be able to test or find the relationship between males and females and their drawings, the number of
males and females, some quality signs and special features in their drawings were correlated.

Table 2: Spearman Rank Correlation.

2
Emotional Traits in Adult Males Rank Females Rank Difference between d
indicators Self Figure the Ranks (d)

Special Arms clinging 9 3 8 2 1 1

features to side of
body

Hands hidden 12 2 7 3 -1 1
behind back
or in pockets
Arms without 2 6 3 5 1 1
hands
No feet 4 5 3 5 0 0

Quality Small 0 7 2 5 2 4
signs
Average 9 3 6 4 -1 1
Big 21 1 11 1 0 0

∑d 2 =8

When written in mathematical notation the Spearman Rank formula looks like this:

# 6" d 2 &
rS = 1 ! % 3 (
$ n !n '
2
Inserting all the variables in (n=7, d =8) this comes to 0.85. What this means is that there is a strong
positive correlation between gender and the size of drawings and some quality signs. In a sense, what
the correlation coefficient may mean is that, in this study the male students generally had a positive
self-concept and the female students generally had a less positive self-concept (although not a
negative one) thus as one gets closer towards the male end of the self-concept scale, the size of his
drawings increases.

3727
3.1.6 Self-concept in relation to Teaching and Learning
Self-concept has been identified to affect learning since students who believe that they cannot achieve
academically tend to fulfill their own predictions while students who enjoy high self-esteem learn more
happily [30]. Additionally, self-concept has been recognized as one of the six assumptions about adult
learning and that as people mature, they progress from being a dependent personality toward being
more self-directed [31], [32]. In light of this, the study looked out for the way the students perceived
themselves in order to suggest ways of aiding the students to enhance their self-concepts and
subsequently influence their academic performance. In the area of teaching and learning what this
may imply is that the teacher should touch on the feelings and self-perceptions of the adult student
especially those who scale towards the negative end of the self-concept scale since positive emotions
enhance learning and vice versa [30], [33], [34]. Besides research has shown that performance can
influence self-concept and self-concept when influenced or modified can also affect performance [30].

4 CONCLUSION
The study showed a higher number of males depicting a positive self-concept on the self-concept
scale implying that possibly the males in this study had a positive self-concept. Most of them were
satisfied with their appearance and popularity and subsequently depicted this in their self-figure
drawings. The females on the other hand had a positive self-concept though lower than that of the
males but were more concerned with how others perceived them. It may be concluded from the
sample used that size, distortions and omissions are indicators that are common in the way both
children and adults depicted themselves. Moreover, from this study the students or adults revealed
their experiences, aspirations, and their emotions (especially in the form of their ideal selves and self-
images) in their drawings the same way children do though I would be cautious to generalize my
findings outside this sample. What this may imply for teaching and learning is that since research has
shown that self-concept affects academic performance and achievement, teachers could create
conducive learning environments and vary their teaching methods taking into account the different
types of students they have in order to foster the nurturing of students’ self-concepts and self-
perceptions and subsequently enhance their learning.

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