Picture interpretation and Jungian typology occur to them when alone (to correspond with the unconscious), and things that occur to them when they think about the future. In order for the experi- menter to later identify which pictures corresponded to which subject, partici pants were also asked to label their drawings according to the four subjects Participants then rated their emotional reaction to each of these four drawings by using the SAM scale Colour associative test. Participants taking the colour associative test were asked to associate one colour out of a box of sixteen crayons with each of the four schema subjects described above. Then, they were asked to make a draw- ing reflecting how they felt at the moment, using their four chosen colours Finally, participants were asked to rate their emotional reaction to their draw the Sam scale Six different sessions were run for this study Three sessions utilized the space domain test, while the other three utilized the colour associative test Approximately thirty to forty subjects participated in each session. Data analysis Before statistical analyses could be conducted, the raw data (i.e, pictures drawn by participants) had to be coded in a way so as to yield meaningful quantitative data. The general idea behind the coding scheme was to yield a quantification of the proportion of a drawing(or colour) that appeared in the theoretically correct quadrant as opposed to the proportion that appeared in the theoretically incorrect quadrants. The following is a description of the cod- Ing process Coding and analysis of drawings. Sixteen vari were coded for each drawing. These variables represented the degree of presence of the four drawings/colours in each of the four quadrants (4 pictures/colours x 4 quadrants=I6). In other words a of <me other three variables representing rariables were coded for each picture (or colour), one representing the degree of presence of that picture(or colour)in the degree of presence of that picture (or colour)in each of the remaining three theoretically incorrect quadrants. The degree of presence of a drawing (or colour)was determined by using a grid system. See Figure 2 for a di gram of this grid system. The grid divides each quadrant into sixteen boxes. The grid was printed onto a transparency and then laid over the drawings. If a drawing/colour was present in a box, it received a value of one for that box. These values were determined for all sixteen boxes and added up, thus yielding a quantitative score of the degree of presence of each particular drawing/colour in each of the four quadrants Thus, each variable had a range of o to I6, with o indicating no proportion of a drawing/colour in thatPicture interpretation and Jungian typology 89 occur to them when alone (to correspond with the unconscious), and things that occur to them when they think about the future. In order for the experi￾menter to later identify which pictures corresponded to which subject, partici￾pants were also asked to label their drawings according to the four subjects. Participants then rated their emotional reaction to each of these four drawings by using the SAM scale. Colour associative test. Participants taking the colour associative test were asked to associate one colour out of a box of sixteen crayons with each of the four schema subjects described above. Then, they were asked to make a draw￾ing reflecting how they felt at the moment, using their four chosen colours. Finally, participants were asked to rate their emotional reaction to their draw￾ings using the SAM scale. Six different sessions were run for this study. Three sessions utilized the space domain test, while the other three utilized the colour associative test. Approximately thirty to forty subjects participated in each session. Data analysis Before statistical analyses could be conducted, the raw data (i.e., pictures drawn by participants) had to be coded in a way so as to yield meaningful quantitative data. The general idea behind the coding scheme was to yield a quantification of the proportion of a drawing (or colour) that appeared in the theoretically correct quadrant as opposed to the proportion that appeared in the theoretically incorrect quadrants. The following is a description of the cod￾ing process. Coding and analysis of drawings. Sixteen variables were coded for each drawing. These variables represented the degree of presence of the four drawings/colours in each of the four quadrants (4 pictures/colours x 4 quadrants = 16). In other words, 4 variables were coded for each picture (or colour), one representing the degree of presence of that picture (or colour) in the theoretically correct quadrant, and the other three variables representing the degree of presence of that picture (or colour) in each of the remaining three theoretically incorrect quadrants. The degree of presence of a drawing (or colour) was determined by using a grid system. See Figure 2 for a dia￾gram of this grid system. The grid divides each quadrant into sixteen boxes. The grid was printed onto a transparency and then laid over the drawings. If a drawing/colour was present in a box, it received a value of one for that box. These values were determined for all sixteen boxes and added up, thus yielding a quantitative score of the degree of presence of each particular drawing/colour in each of the four quadrants Thus, each variable had a range of 0 to 16, with 0 indicating no proportion of a drawing/colour in that