ASPG Vol VI, Renate Griffiths, The Wartegg Test Its Use In Combination With Handwriting Analysis And The Tree Test

2004·122.6 MB·English

by  ASPG Renate Griffiths

Journal of the
American Society of
Professional Graphologists

‘An Introduction to the Graphology of Ludwig Klages
Thea Stein Lewinson

‘The Four Temperaments of the Moretti Graphological System
Vincenza De Petrilo and Alessandra Milevlte

‘The Compatibility of the Couple
Vincenza De Petrito

Graphology as Applied to Children
lecquetine Peugeot

‘The Wartegg Test:

Its Use in Combination with Handwriting Analysis and the Tree Test
Renate Grins

Marie Antoinette Seen Through Her Handwritings
Renata Propper

A Graphological Picture of Creativity and Mental Distress
Lois Vaisman

Suicide: Graphological Perspectives
Patcia Siegel

Jury Consultants Using Handwriting In and Out of the Courtroom
Ruth Holmes and Sarah Holmes

Form Level: Theoretical Considerations,
Mare J. Seier, Ph.

In Memoriam
Thea Stein Lewinson, Oskar Lockowandt
Hava Ratzon, Heny ©. Teltscher, Ph.D., Augusto Vols

ISSN: 1048-200 Volume VI, 2004
JOURNAL OF THE AMERICAN
SOCIETY OF PROFESSIONAL GRAPHOLOGISTS

President: Patricia Siegel
‘Vice President: Lois Vaieman
‘Treasurer: Laurice Rahme
Past Treasurer: Jeffrey Starin

Recording Secretary: Joy Chute

ADDITIONAL MEMBERS OF THE BOARD
Howard Burger Lisa DeBoer Alan Levine, M.D.
‘Linda Cross Virginia Dileo Nanoy Roohe

‘Mare J, Seifer, P.D.

EDITORS
‘Alan Levine, MD.
Mare J. Sefer, Ph.D.
Patricia Siegel

Copy Eaitor: Sylvia Topp
‘ayout: Julia Roh
‘Subsoriptions: Nancy Roche

PAST PRESIDENTS
‘Thea Stein Lewinson 1088-1002 + Alan Levine, M.D. 1992-1995

PURPOSE OF THE JOURNAL
+ To present theoretical and research papers in scientific graphology
according to academio standards.
+ To create a forum for helping graphology gain @ wider academic
‘and professional audience in America
+ To provide an exchange with the international professional
sgraphological community,
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© Copyright 2004. All rights reserved.
‘The American Society of Professional Graphologists

ISSN: 1048-390
The Warteaa Test n

‘THE WARTEGG TEST.
ITS USE IN COMBINATION WITH
HANDWRITING ANALYSIS AND THE TREE TEST

Renate Griffiths

ABSTRACT: The Wartogy-Zeichon Test (WZT) Is a projective drawing
‘test which, used together with othor teste and handwriting (HW), ca
‘support, add, and disclose the inner dynamies of person. The prinel-
les ofthe W2T are both graphological in terms of stroke quality and
Deychological in terms of symbolic meaning and access to the uncon-
Selous. low each stimulus ix perceived and carried forward aa a “solu
ton” is revealed by the subject mattor and mannir in which i is
drawn and can be related to handwriting as form, movement, space,
fand color. This article explains the banles ofthe tert and gives three
fcxamples using the combination of the WZT, Treo Test, and HW. It
highlights the advantages of using a graphle testbattery to better
understand an individual, asuint in dealing with problems, and further
development.

WHAT IS THE WARTEGG TEST?

‘The WZT isa projective drawing toe that was developed by Ehrigg Wartegg in 1690. 1
combines tho symbolic content of the drawing with ite grapbic expression. It is om
Drised of eight squares or “elds,” each witha smal, predrawn motif which should pro-
‘oko the drawer to incorporate it into a drawing. Unconselous material s not freely pro-
{ected as in dreams but is promptod by these given stimull in each of the eight fel,
‘Thay either are accepted and incorporated into a drawing or are not taken up, that i,
rjcted and lef unincorporated. There will be many variations or different graphic
solutions but the standardization ofthe given stimull gives the tat it diagnostic value

‘The given motife for each of the eight fields were carefully thought out and
speak to diferent aspects of the personality. Likewise, the broad width of the borders
‘was purposely chosen so that each field ootld be experienced by itelf yet stil be with
Inthe concept of the whole. The content is open to individual interpretation but is spe-
ie to the meaning of the partioular field, Sometimes a field can be evaluated with
‘nother but it should always be borne in mind that all eight fields are representative
ofthe subjects current state of mind. The testis therefore useful in paychotherapy
fad can be administered at intervals to monitor progress. In general, the WZT oan
hnip toward gaining insight and understanding of a person, is an aid to development,
‘and can uncover unresolved conflict,
n Journal ofthe American Society of Professional Graphologsts

Wartogg’s colleague, Professor August Vetter, was the first to combine the WZT
‘with handwriting to counsel children and ive vocational guidance to young adult,
‘After the war, he gave lectures and seminars about the WZT at Munich University.
‘Maria Renner and Ursula Avé-Lallemant followed Vetter teaching and used his grap
fc teat battery for similar client base. They both wrote books about it in German, Der
Wartegy-Zeichentest and Dor Wartogg-Zaichntast in der Jugand Beratung. respectively
‘The Gorman graphologistpaychotherapist Dr. Christian Dettweiler, founder of the
Internationale Gesellschaft flr Dynamische tnd Klinisohe Schriftpaychologie (DKS)
‘worked extensively with the WZT in his private practioe with adults, The test is used.
‘by peychologits for personnel selection, paychiatric assessment, and personal growth
sn Sweden, Israel, Germany, Holland, Switeerland, and Canada

HOW DOES THE WZT HELP GRAPHOLOGISTS?

It has boon long been accepted by a number of graphologists that using &
graphic test battery, that i, several projective teste in combination with handwriting
‘analysis, gives greater indepth understanding of an individual. In addition, the W2T
‘gives more information on subconsoious perceptions than handwriting, which is
‘more conscious and directed toward the norm, culture and societal expectations. The
‘graphologist has the profesional knowledge to assess the WZT in its wide expressive
‘meaning, both from its content analysis and particularly from the method of draw:
‘ng. Used together with other projective toss, it oan provide a wider, more objective
‘iow of the payohe and goes a long way toward a more comprehensive assessment of
4 person's potential. Por instance, an assessment using the combination of the W2T,
‘Tree Test, sometimes also the StarWave Test, and handwriting’ analysis, not only
ives a three dimensional aspect but may also provides a srt of “Aha!” experience for
tho cont. Used alone, each test can only shed partial ight on an issue but used in
‘combination one test can add or confirm information obtained from the others, There
fare also times when a handwriting is #o styled as to preclude an in-depth analysis
0 that other projective tests are the only means of accessing the personality

INTERPRETATION

Information can be extracted from both what is drawn and how it is drawn,
Like a graphological evaluation, each trait can have a more or lees positive or nega
tive interpretation and no trait should be evaluated in isolation. One is searching for
the “Gestalt” ofthe person, not meanings for jolated traits,

‘The assessment begins with an overview of how the drawings have beon ren
‘dred and their content. The drawings are perceived in the same context as one lok
fat dreams. The drawers input is required in order to incorporate the private logic
‘TEST ADMINISTRATION n

Sel a igh) gure a ans ic st atc ct ino sting
taken Beg wh ary squae and surber in equa an you have completed ne egh
pal ews Of rai er coepeor dh ol ee ong i

Sak

Oppo e dettyng eter pleats ey wat ach ein
ph pl he ube of he seen whch yu copied hans, You mayan wh

Figure 1: Wartegg Test. (Original reduced to 75)
” Journal ofthe American Society of Profesional Grapholoists

‘behind his choice of subject matter forthe drawing, Iti, afterall, his drawing ema-
nating from his ideas and requires his explanation. In accepting ownership, he will
‘also begin to gain insight and aocept certain aspects of his personality, which may
hhave remained dormant in his unoonscious

"The tet also enable uso determine the level of maturity or immaturity of the sub
Ject and can reflect hitherto unrecognized pathological elements Iti important to note
‘whether and how the stimulus isincorporated into the drawing as wellas the natureof the
‘drawing itself. Additional information can also be obtained by combining certain fields,
‘The order of drawing should be noted. Generally speaking, the easiest onesaredrawn first,
‘the most dificult last, Thus, the response tothe first three fields maybe considered les
In uenced by conflict, whereas thew drawn seventh and eighth can indicate problems

EVALUATION

‘Two questions should be asked:
1. How ist drawn?

Graphic Interpretation: perception of stimuli and expression,
2, What is drawn?

Content interpretation: projected image

1, HOW IS IT DRAWN?
GRAPHIC INTERPRETATION

‘There are many similarities betwoon the interpretation of the WT and hand
‘writing analysis, These include dynamics of space, color (shading), form, and movement
Other similarities are pressure, zonal distribution, and preference for certain stroks
‘mich as angles and curves hike garlands or arcades, For instance, the given stimu of
‘curved strokes or dots in Fields B, G, and H may evoke swinging or organic rsponsas
‘and are considered tho “feminine feds” The linear stimuli in Fields C to F may evoke
‘more practical solutions or objects and are considered the "masculine fais.” A preblom
‘may be indicated if the stimuli are nether incorporated nor continued in the suggested
form. As in graphology the more rounded the form. the greator the emotional contant
‘and dynamism, Linear or angular forms suggest greater conscious control and are more
Indicative of rationality, rwality, and intolactnfluenced content. The drawings can show
inanimate objects or experiencebasod, “living” representations from which it may be
learned whether the person is more “thinking” or “feeling oriented.” The continuation of
the rounded forms in Fields B, G, and H frequently result in ilustrations reflecting life
‘1, for instance, parts ofthe human body, figures of people, animals, or vegetation. There
is a greater percentage of more mechanical, inert sponses to tho straight lines oF
‘squares in Fields D, B, and F such as machinery, object, or abstract drawings.
Management of Form

‘The drawing can be in various gradations from large to small, circular to angular,
release to constricted, fll to meager, enriched or neglected,

‘Three aslo strokes are usually repeated indifferent configurations:

‘The straight, horizontal line —— which can express resoluteness, assurance, goal
‘orientation, determination, decisivencss, and self-confidence.

Tin angie WY which can expr aggrenson,contradietion, hardea, resatancn,
lon cia perveseceatad eal pein iets soar oes
‘lps, nd wally

‘Curves such as garlands ALAy express softness, femininity, and sociability, and con-
versely, dependency and nasseriveneas. Curves such ag arcades (YY can indicate
olding in hiding, protecting feelings. or conservative, formal approach

“The dot in Feld A is different n that it not only isin the exact central position but also
‘oks direction and is neither up, down, to the right, nor to the left. If ts centrality is
not acknowledged, it can indicate indecision, lack of selfconfidance, oF stymied ere-
tivity If i is continued as midpoint, it means thatthe drawer is centered, feels "at one”
With himself, and suggests he is open to creative stimulus. A more negative interpre-
tation might be made i the nature of the drawing indicates narciaistic tandencies.

‘Tho following aro some combinations of strokes with various indications:

+ cro: sf snconfidenoe and decisivenet. Ans holy croatia t centr l=
‘ate othe mint sphere oF may symbian death

+ Radiating strokes: JX imagination, initiative, expansiveness

+ Square: [7] organization, method, firmness, and caution. In Jungian terms, it
a gymbol of earthbound matter

+ Arrow (straight line and angle’ —> willpower, goal-irection, or tendency to

+ Circe or oval: Q) wholeness, symbol of the Sef, union of opposites (Jun
Jack of initativfctvty, “going around in cil."

+ Wavy with pointed ends: instinctive but also impulsive

‘cena out as not SEE Elche oe GP
pegereeplepe a ian ay raga
pearance
* Journal ofthe American Society of Profession Graphologsts

Stroke Quality

Just as in the analysis of handwriting, the graphic interpretation of the WZ
‘n evaluated on a continuum between poaitive (+¥e) and negative (ve) poles. No single
‘Sgn should be taken in ization but always incorporated as a part of the whole.

Strong: ve = Self-uficiency, stress-resistance, physical strength,
‘Ne = Hardness, inhibition, volatility, aggression,

Flexibility, sensitivity, approachability, intellectual inclination.
Low sextal drive, low stress-tolerance, lack of initiative, inde-
clsiveness, lack of energy or contro

‘Thin: sve = Sensibility, sonstiveness, emotional distancing, intellectual
‘approach,
-ve = Lack of originality, lack of sensuousness,

Wide; sve = Originality, sensuousness, feeling based.
‘ve = Lack of self-control, overemotional

Physical wellbeing, vitality, slfconfidence.
Absence of gentleness,

Softness, empathy, approachability.
Easily tired, lack of energy, irritability, inhibition, insecurity,
low self-confidence.

BMicienoy, control, activity, generosity.
‘Lack of seifontrol, lack of discipline, impetuousness.

‘Thoughtful action, exactness, self-control, discipline,
Lack of activity, over-cautiousness, inhibition, narrow
thinking, lack of spontaneity.
The Wortegg Test ”

ty,
difficulty comprehending, anxiety (hatching).
Form

Large: sve = Open to experience, enthusiasm, generosity, self-confidence,

Thability to understand a concept, lack of practicality, lack of
will-power, laxnes.

‘Will-power, practicality, conceptual, controlled of feolings,
self-control, goal-directed, superego influenced,

Inhibited feelings, lack of imagination and spontaneity,
rigidity.
7 Journal of the American Society of Professional Grophologiss

Acreated/Compact

‘Aerated: ve = Open to footings, relaxed, imaginative, flexible,
[ve = Lack of concentration, lack of firmness/steadiness, lack of
pructiality, lack of impulse-control

Compact: +ve = Firmness, practicality, impulse-control, willpower.
Ne = Lack of feelings, lack of imagination, inflexible, rigidity

Space

‘The composition ofthe drawing, its sz and placement in relation tothe frame
‘provided corresponds to how the indWidual sees himself in the worl. Its rendering
Feflects how the person interacts in society with people in general and on @ onetoone
basis in particular. Drawings that extend the boundaries of the square may indicate
‘gression, expecially if drawn with heavy pressure. There may also be an absence of
‘ogo boundaries in the drawer and reflect difficulties from early stages in his develop-
Inent when ego boundaries were not clearly defined. Additional information can be
‘Sbtained from harmonious use of space among the fields or whether there is an over-
‘or underemphasis on a particular field.

FullMeager

Full: ¢ve= Open to feolings, imagination, spontaneity, self:
‘confidence, perseverance, uninhibitedness,

ithe critical ability, ack of common sense, demanding,

lack of goal-direotedness, inconsiderateness,

‘impulsiveness,

Meager: ve = _Intellectdriven, abstract, simplified, concentration, critical
ty, practicality, clarity, selfcontrol, deoisiveness, restrained.
-ve = Insufficient fooling, lack of imagination, sparse, inhibited,
lack of activity