Coding Cheat Handout Flashcards
What is a prop and do you code it
Props are not coded. A prop provides rationale for a response but is not seen in the blot. Ex. the amoeba looks big because you are looking through a microscope (don’t code microscope)
What codes are required to have
Location
Content code
FQ
Determinants
Card orientation options and how you code
< card is interpreted turned to the left
> card is interpreted turned to the right
V card is interpreted turned upside down
@ card is rotated around before responding, but response was given in the upright position
R-Optimized
Promps
Pull
Location codes options
W, D, Dd
How many location codes can you give? What if there are multiple objects?
1!
If there are multiple objects used that do not together form a W, list all the location codes that appl (both the D5 and D6 areas are used in a response, code D and “5,6”)
- 2,3: crab holding a leaf VERSUS 2+4: crab and his claw
Location codes: Do you code up or code down
*Codes mutually exclusive, give one. Code down (Dd)
W
Whole
Response uses the entire inkblot; if multiple objects are seen that use the whole inkblot, still code W
D
Common Detail Area
Response uses frequently used details; if multiple objects are seen that do not use the whole, but come from 2+ D areas, code D and then list the numbered areas, separated by a comma. Code D for symmetrically paired objects. Numbered 1-15.
Dd
Uncommon Detail Area
Response uses infrequently used details; Dd99 is given if response doesn’t fit into any D or Dd area. Numbered 21-35.
Space codes (and how many can you code)
SR and SI
Can code both
(ex. SR and SI: mask and white eyes) VERSUS SI: mask with eye wholes)
SR
White Space Reversal
Using the white space as the main image, rather than the blot; rarer than SI
SI
White Space Integration
Using the white space in addition to the inked area
Object Qualitifes
Characterize the quality of the objects
Sy, Vg, Pair (2)
Are Sy and Vg mutually exclusive?
No can have both
Examples of Sy and Vg
Both: fire on a green field, two clouds coming together
Sy
Synthesis
distinct and separate objects in a relationship; requires 2+ objects and interaction
two people looking at e/o, a bear climbing a mountain, dogs touching noses, touching, person casting shadow. (NOT underwater scene…there’s fish, rocks, plants)
Vg
Vauge
objects with a vague or indistinct outline or boundary; objects that do not have a specific form and the respondent does not communicate any particular form
Ex. blood, water, clouds (NOT when vg associated with form, like fire on tree)
Form quality options
o, u, -, n
Is FQ required? Are they mutually exclusie?
Yes, required
Mutually exclusive, only code one (When multiple objects are included and they are important to a response, the examiner should “code down.” E.g., if one of the objects would be coded o and the other u, the correct FQ coding for the response would be “u”
o
Ordinary
form fit that is relatively frequent and accurate
u
Unusual
form fit that is of intermediate frequency, accuracy, or both
-
Minus
Form fir that is infrequent and inaccurate
n
None
response does not contain an object with a definitive form or outline; impressions based on the color or shading of the ink (common with Vg)
Ex. coal, it’s just black and there’s no particular shape; blood, it’s all red there, shape doesn’t matter; a party, excitement, all the colors and movement all over; just some hunk of fur; some kind of greenish ooze
3 principles of extrapolation
- Systematic extrapolation from the FQ tables is preferable to independent coder judgement
- All FQ extrapolations must share shape and spatial orientation
- Extrapolate using the response in its entirety
(if the tables are useless, ask “can I see it quickly and easily”; yes = u, no = -)
Content codes: what are they, do you need one, are they mutually exclusive
- They describe “what” is seen in the card.
*Code all the categories that apply but only code each category once per response
- Must have content code
H
Human
Whole human, including realistically described religious or historical figures Also code figures described as humans but with non-human parts
Ex.person, baby, fetus, Buddha, man with wings
(H)
Imaginary, fictional, quasi-, or supernatural whole human
Ex. ghost, giant, human-like monster, demon, fairy, God, clown, angel
Hd
Human detail, for an incomplete human form but not those percepts better captured as Anatomy
Ex. face, head, leg, mustache
(Hd)
Imaginary or fictional human detail
Ex. face of the devil, angel’s wings, human-like mask, carved pumpkin face/jack-o-lantern
A
Whole Animal
butterfly, elephant, bat, insect, pterodactyl, amoeba, a bat with hands
(A)
Imaginary, fictional, or cartoon whole animal
Ex unicorn, King Kong, Nemo, teddy bear, dragon, animal-like monsters
(Ad)
(Ad) Imaginary or fictional animal detail
Ex. wings of a dragon, animal mask
An
Anatomy, for internal body parts and structures that are not visible from the outside; Also for perceptions of anatomy from medical imaging devices, including MRI, PET scan, X-ray, or ultrasound technology; Internal human or animal body parts that are coded An are not also coded Hd or Ad unless external body parts are also included
Ex. pelvis bone, intestines, brain cross-section, lungs, cells, cross section of an organ
Art
Art, for objects of art or for objects that are, or described as being decorative or ornamental
Ex. paintings, crest, jewelry, ceremonial feathers, a fancy and delicate table
Ay
Anthropology, for references to a specific historical or cultural context
Ex. Indian arrowhead, Napoleon’s hat, Mongolian yurt, totem pole
Bl
Blood
Cg
Clothing
bowtie, dress, boots, hat
Ex
Explosion
Ex. bomb blast, volcanic eruption, fireworks
Fi
Fire
Flames, embers, hot lava, smoke
Sx
Sexual organs
Penis, vagina, see-through dress
NC
objects and contents that are not classified in other categories, including abstractions like depression and sensory experiences
Ex. cloud, landscape, lamp
Popular
Look in books, mark P if popular
Determinants – and are they required
How are you seeing it that way
Determinants – Movement
Movement has to be in the moment, not past
Can;t be positional (ex. looking at eacother), has to have TENSION
M
Human Movement
human activity, experience, sensation, and emotion; any experience, activity, or motion that is distinctly human f
Ex. fighting, talking, resting, standing, dreaming, feeling sad, thinking, holding his arms up; bears playing cards
FM
Animal Movement
animal activity and experience; animal in motion
NOT an animal doing a human movement (not a bear doing the jig)
Ex. bears climbing, fish swimming, a snake stretching, an angry wolf growling, a happy dog wagging its tail
m
Inanimate Movement mechanical or inorganic movement, including natural forces
Ex. a picture hanging, a rock falling, bleeding, a rocket firing, a hide being stretched, hair sticking up
Type of movement
Active (anything more active than talking)
- Ex. explosion, fighting, spinning, a person lifting a heavy weight, bird flying; two people sitting at a table debating politics
Passive:
- talking, sitting, resting, gliding, a soft breeze, murmur
Both active and passive: a-p
- multiple objects, some move, and some don’t
- Ex. one person looking on as this person dances
FC
Form Color
color contributes to a response, but form is dominant
Ex, an inverted carrot, it’s long and tapered with the orange
CF
Color Form
form contributes to a response, but color is dominant
Ex. an orange carrot, it’ss the right color and it’s kinda shaped like one
C
color
determines a response without form playing a part
it’s like abstract art that represents the taste of a carrot, just an orange color
C’
Achromatic Color
black, grey, or white color of the ink contributes to the response
Ex. a white ghost, a grey bug, an eclipse b/c the sun is black with a white edge
Color – what if multiple objects?
only one chromatic
code, code the least
form dominant
Shading – how communicated
Shading com. by touch or
verbal.
Shading – how many can you code
*can code multiple
Does shading for countor count
*shading
to contour
doesn’t count
T
Texture
light and dark ink gradations contribute to a response and contribute to a tactile quality
Ex. a soft blanket, a furry pelt
V
Vista
light and dark ink gradations contribute to a response and contribute to a perception of depth or dimensionality
Ex. a canyon in the darkness there, the shading makes it look like you are seeing through a fog
Y
Diffuse Shading
light and dark ink gradations contribute to a response but do not contribute to a tactile impression or sense of depth
Ex. an X-ray because of the different shades of gray
Shading: V vs Y vs T
