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Here at Weird we are constantly inspired by the imagination and creativity of people around the world. We love to learn about new ideas and extraordinary ways of doing the ordinary. Our variety of sections provide you with inspiration and ideas from interior design, through architecture all the way to art methods and styles. As always we have a special surprise at the end of our magazine. This edition we decided to honour the ways in which each individual explore and interpret the world around them. We have done this through Rorschach drawings, asking a handful of people to explain what they saw and had one of our illustrators recreate what they describe. We hope that this edition leaves you with a thirst for the unusual and an imagination that does not recognise limits, only possibilities to make the world a little more weird.
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Contents
Interior Design Bring the beach to you
You may not be excused Exploring the interior Singing in the rain Odds and ends
Architecture Creating fiction
Childhood manifestation Bedrock residence
Worlds narrowest house See through living
Art Take a look String art
The works
Map it out
An unusual arrangement
5 Boji Fabian
Weirdo of the month
In her mid-twenties Fabian started experimenting with mural designs and fluorescent and glow-in-the-dark colours, mixing her two main interests that created her most-known art pieces. By applying complex painting techniques and a wide range of colors and pigments, she creates a starry atmosphere, visually opening up confined spaces, usually applying a threedimensional effect in the daylight as well as in the dark or under UV light.
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I am trying to create dreamful atmospheres, paint walls and floors and manage to enlighten my art with and without a source of energy. Thus, the spectator can experience the result in the daylight as well as in the dark, and in that way enjoy it in all its facets. My goal is to create unique spaces and rooms giving them an identity and a soul, where relaxing and living become an experience
Photos by Boji Fabian
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Interior Design
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Bring the beach to you If you’ve ever spent a day at your desk wishing you could put your feet in the sand and listen to the roar of the ocean, this unconventional home office is for you. Justin Kemp, an artist’s assistant from Massachusetts, was inspired by the Beach Boys to set up a sandbox for his workspace. He boxed off a space with simple lumber, lined with with plastic sheeting, and filled with with sand. In went his desk, chair, computer, and his feet into the sand. It’s unconventional, there’s a high chance of finding sand
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all over your house, and people will probably look at your office rather oddly; none the less Justin decided to go with an idea that most people would just talk about and the results are pretty neat. Check out the link below to read more about his setup at Setups and Spaces. If you have a workspace of your own to show off, throw the pictures on your Flickr account and add it to the Weird Show and Tell Pool. Include some details about your setup and why it works for you, and you just might see it featured in the next edition of Weird.
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Singingin the SARA MALM
rain
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This singing wall has tourists braving stormy weather to listen to its music, composed only when skies are grey. An intricate system of drains and funnels is attached on the outside of a colourful house in Germany and when it rains the entire building becomes an instrument. The house is located in Neustadt Kunsthofpassage, an area of Dresden part of an arts project called the Courtyard of Elements. The singing house was created by sculptor Annette Paul and designers Christoph Rossner and André Tempel, who all live in the musical home. Ms Paul said she was inspired by her home in St Petersburg where she would listen to the ‘rain theatre’ of the pi pes outside her home. The Courtyard of Elements also have a yellow façade with aluminum panels representing the light, and a green one adorned with giraffes and monkeys representing the animals. Neustadt Kunsthofpassage has a total of five courtyards, including the ‘Courtyard of Metamorphoses and the Couryard of Mythical Creatures.’
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Youmay not be excused
the ek , e w s gn desi present n a l i t ne gl in tobe ing m Dur ition tut the new oung ‘ y b exhi hibition wcasing st the g x o the e ngs’, sh s. amon i r of th designe h dutc
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a see ayf o a w e ide with a s ted h t n ce. sea do base op surfa to stay bject . n e t o s er n jan nder the the oth side. the e into e e l r n l gu ma ab site nt o e’ by ed seatin epende he oppo dinner t l b a t d t t e rtesy integra become erson on ted at th u o c s e ‘the two ha her sid ts the p ose sea , is s t p n eit en th e effec e for conc the tabl people o directly p betwe i e saw, nge, th nt of one lationsh i e e r ing h movem of the . e n o h i i at on t as t anslat s e f ni tr is a sical ma y a ph
Photos by Wim de leeuw
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Exploring Mairi Beautyman
“The line between my work and life is thin to nonexistent,� says British designer Ilse Crawford, who lives above her studio with her husband in a converted tannery warehouse in Bermondsey, London. She sat down with Weird to share how she made the move from editor to designer, what drives her interiors, and what item in her home everyone immediately jumps into.
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the interior
Weird: What distinguishes your Kasthall collection from other contemporary rug collections?
Ilse Crawford: Its starting point was the green around the factory, or the Swedish green, which has especially strong meaning for a country that isn’t green that much a year. I started thinking about how we are using so many more plants for both private and contract projects. Carpets that would work in those environments were missing. Today, green is a neutral. We essentially took one color idea and explored it with Kasthall through all their different manufacturing techniques. There are six rugs, but they’re not similar in the slightest. Kasthall was prepared to research and develop with us in colors, materials, weaves, and sampling. ID: What else have you been working on?
IC: Quite a range. We are working on residences in Canada, Sweden, and Russia. In Rotterdam, we’re renovating a 1950s residential building by adding a clubhouse that includes a work space, cafe, shared kitchen, roof garden, and all sorts of added value. In London, we’re working on a family mental health center. We researched and asked ourselves if it should be brightly colored, upbeat, and optimistic. We talked to families who want something solid, familiar, and lasting. We’re making this project very warm, reassuring, safe, and welcoming.
Our recent products include the Atmospheres wallpaper collection for Engblad & Co and a new range for Georg Jensen. We’ve also been working with Bosnian company Zanat to create
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The idea is one thing, but it’s nine-tenths execution, so we really rolled up our sleeves. Often, designers throw their work over the wall and don't get the chance to do as much research and development as we did. Good textiles are as technically challenging as any piece of furniture to make, if not more.
17 products that would find a new market and preserve the brand’s wood carving skills, which recently received a UNESCO Intangible Cultural Heritage listing. With Zanat, we introduced the Touch collection, which has a cabinet, console, table, and series of stools. W: How do you believe your childhood in the U.K. influenced your design thinking? IC: My dad, an economist and economic journalist, raised me to question, analyze, and observe. Creativity came from my mother’s side—she was very free thinking but also let us make things. That combination was very influential. I was always interested in how interiors influenced the way people behave, and I noticed how people acted in our house versus others. W: What catalyzed your transition from journalist to designer?
IC: Journalism made me see what was missing, which really fascinated me—how one could design interiors with warmth and humanity—qualities missing from many. I was also drawn to making things that lasted and really impacted people. I saw that good design followed through on all decisions and touch points that spoke to the whole system. Good design is not just a look or an idea, but an integration of all those things, the whole system, the whole journey.
W: How did you make that crossover?
IC: I was lucky to encounter several brave people. Donna Karan asked me to run her lifestyle division because
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19 she read my book The Sensual Home. She trusted my vision and wanted me to translate hers. Then, Nick Jones from Soho House trusted me to work on Babington House in Somerset, England, in 1998, and asked me to do Soho House New York, which opened in 2003. The skills you have as a journalist— sifting through an incredible amount of information to make good decisions, good analysis, being able to visualize and communicate those narratives—are necessary as a designer to win trust and carry clients on a journey which may take years. W: Do you have an interiors pet peeve... something that really makes you cringe?
IC: Copy/paste. Ultimately, good design comes by following the journey. It’s a process, not a look. When copy/paste happens, the project burns itself out really quickly. On projects based on specifics you embark on that journey. W: Do you have a book you recommend?
IC: “A Pattern Language: Towns, Buildings, Construction” by Christopher Alexander. He’s a contemporary of Michael Pollan, who I admire enormously. “A Pattern Language” is basically the universal truth of people and buildings, revealing the spaces that both comfort and discomfort us.
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Odds a
It d oesn from ’t take m New t Yor he subl uch for k im very a a well partm e to th n interi en e o – it’ s ec t mana ridicul r to ti p cent o ric i ges to h us, bu over n its t thi old s t app design, hat l in e eari ng f withou rivo t lous .
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0 21 French designer Gilles Jauffret's moss/stone wall is, to say the least, unusual and interesting.
22 g n i d n eB the basics of design
Friedensreich Hundertwasser was an Austrian artist and architect who spent his whole career championing the curve of organic nature against the straight line. From the mid 70s, all his amazing buildings were ergonomically curved and ecologically integrated with natural features of the landscape. Hundertwasser stood out as an opponent of “a straight line� and any standardization, expressing this concept in the field of building design.
223 Architecture
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425 Danish architect Bjarke Ingels (born 2 October 1974) is often cited as one of the most inspirational architects of our time. At an age when many architects are just beginning to establish themselves in professional practice, Ingels has already won numerous competitions and achieved a level of critical acclaim (and fame) that is rare for new names in the industry. His work embodies a rare optimism that is simultaneously playful, practical, and immediately accessible. Ingels was born in Copenhagen in 1974 and began studying architecture at the Royal Academy in 1993. INTERESTED IN BECOMING A
CARTOONIST, HE ORIGINALLY ATTENDED ARCHITECTURE SCHOOL WITH THE HOPE THAT IT WOULD IMPROVE HIS DRAWING SKILLS. However, while studying he discovered his
passion for architecture and went on to continue his studies at the Technica Superior de Arquitectura in Barcelona. After working for three years at OMA in Rotterdam and then co-founding PLOT Architects with Julien de Smedt in 2001, Ingels went on to found his current practice, Bjarke Ingels Group, in 2005.
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With offices in Copenhagen and New York, BIG has grown at an astonishing rate and has quickly established an international presence. Much of his philosophy about architecture is revealed in his 2009 manifesto entitled Yes is More, which introduces 30 projects from his practice in the familiar format of a comic book. In a concept that he calls “Hedonistic Sustainability,� many of his projects seek to question how sustainability can be playfully and responsibly integrated into buildings to actually increase standards of living. In a quote that summarizes BIG’s approach to architecture, Ingels states: Historically the field of architecture has been dominated by two opposing ex-
tremes. On one side an avant-garde full of crazy ideas. Originating from philosophy, mysticism or a fascination of the formal potential of computer visualizations they are often so detached from reality that they fail to become something other than eccentric curiosities. On the other side there are well-organized corporate consultants that build predictable and boring boxes of high standard. Architecture seems to be entrenched in two equally unfertile fronts: either naively utopian or petrifyingly pragmatic. We believe that there is a third way wedged in the no-mansland between the diametrical opposites. Or in the small but very fertile overlap between the two. A pragmatic utopian architecture that
627 nd environmentally p ly a e l a c grammatic ap rfect p mi ly dia p t r o c oach laces i st r con m to g a s a o r a e t e a i h ighly be ene in y, deve — al l s s l rat prac a t l op e ia ,” writes Justin es ha e ing tic c f v l i i t o o d Fow and a al f s man Ko genera l o e r, “ m sys rchit objec essary result. n c r e e h n o o B e i c e t ” Th t IG’ a d at rR s th is a s d emat ctura ive. cre pro ento al ize orm i resentati p f p o i i p e s p c r a e h a ro a f on, p gra inc l for t is pow ch r m ation inal on h e m ms arn d e r t s e s e t u f og t asi e, op l profession at lar rm st-r p a a c l e tak r i o r e t u t e o f h t oje ion hat i ge. ner n, ev ec tt is po t rac i d c a h p a r a h nd tin t an of s s In om the ng th ighly arc r s e f e e h l i f-p g arc atti uch h ed ro m . “W ggest els’ h om t hit tud row h r c o b g r e e o f oa su n r t I p i , on cture p y o on t a t i i t t n l t i a i ha en ra ab th s mi le m e vit d n a p i a v m of e d t co an rfec re e i p a ot h nb w a dr
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lego house Ashley Winchester
Legoland, the Lego toy company’s flagshi p theme park, draws some 2 million visitors annually to the tiny town of Billund, Denmark, where the company has its headquarters.Now, there’s a new attraction on the block. Lego House, which opened in late September in Billund, is a brick-shaped behemoth in the center of town that is both a shrine to the toy and a place to let loose. Every part of 130,000-square-foot building has been designed with Lego in mind, from the climbable exterior of yellow and blue Lego bricks (scaled up to human size) to its “tree of creativity,” a nearly 50-foot-tall, 6.3-million-brick centerpiece built as a homage
to Lego’s roots as a wooden toy. Although it’s been some years since I’ve had a serious Lego encounter, Lego House drew me in as easily as it did my boyfriend’s nieces and nephews, ages 9 and 7, whose romps through the four play zones uncovered new building opportunities and challenges at every turn. “My vision with this house is to create the ultimate Lego experience which truly unfolds the endless possibilities there are with our bricks and our Lego system of play,” said the Lego Group’s majority owner, Kjeld Kirk Kristiansen, at the house’s opening, “and [have] together all these experiences in one house, the home of the brick.” A climb up the spiral staircase at the center of the building deposits visitors at the Masterpiece Gallery of Lego creations, where the possibilities of the brick are highlighted in sculptures — including three, 10-foot-tall dinosaurs. Visitors then make their way into one of the zones designed to stimulate creativity, communication, emotion and cognition. Employees stationed in each zone offer suggestions and help small hands find the perfect piece for their creations among some 25 million bricks. In the Blue Zone’s Race Track activity, a niece and her engineering-minded stepdad grazed through a trough of Legos in search of an aerodynamic addition to their cars, then raced them against the family and other builders. In the Robo Lab, they practiced programming skills to navigate robots across an Arctic terrain. The Duplo Train Builder playscape encourages toddlers to become conductors using
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30 interlocking tracks and moving trains. In the Green Zone we whiled away an hour sifting through bricky body parts to piece together minifigures, then moved on to the Story Lab, where we use preconstructed props and stop-motion cameras to film our own Lego movie. The Yellow Zone takes visitors to a Lego jungle, a field of flowers, and under the sea. Highlights include a Fish Designer activity with digital aquariums — wall-sized screens — populated by Lego fish. Visitors can piece together a fish and have it scanned and digitized at an iPad station — and then see it come to life as it swims on the screen. iPad scanners at activities are linked to visitors’ wristbands, so each creation can be stored and revisited from home through the Lego House app. Tickets to the experience zones (199 kroner per person, about $31) grant entry at specific time blocks, though once inside the house, visitors can stay as long as they like. But even without a ticket, visitors to Billund can still visit the Lego House, its terraces, Lego Store and three restaurants. The building’s nine rooftop playgrounds, ground-level atrium and surrounding parks are free and open to the public, and designed around the idea of Lego House as an indoor town square for the people of Billund and visitors alike, the architect Bjarke Ingels said. In addition to the experience zones and public playgrounds, the house also includes Mini Chef, the world’s first Lego restaurant. Orders are taken and food is “prepared” by Lego minifigure chefs “living” in iPad boxes at each table, our hostess explained. The chefs, she said, speak only in brick: to get it right, we must first build our meals in Lego form. Our meals (169 kroner for adult, 98 kroner for children) eventually arrived via conveyor belt from a hidden kitchen in giant blue Lego bento-style boxes. There are no traditional waiters — meals are picked up at a counter staffed by two animatronic Lego robots — though human “helpers” stationed throughout the restaurant serve alcoholic and nonalcoholic drinks and answer questions. The food is surprisingly upscale and relatively health-conscious: adult-friendly ingredients like glazed beetroots and marinated kohlrabi, alongside crispy fries or fried organic chicken for the kids, who each received a minifigure chef toy with their meal.
“LEGO IS NOT A TOY. RATHER, IT’S A TOOL THAT EMPOWERS THE CHILD TO ACTUALLY IMAGINE AND CREATE THEIR OWN WORLD, AND THEN TO INHABIT THAT WORLD THROUGH PLAY,”
031 Mr. Inge ls when it is said at the openin g a as people t its best, it is th . “And I think a rchitectu e same th , re, ing. As a want to l we can imagine rchitects what kin ive in, th d of a w and en we ca and then orld is it nd we can a that ctually g esign and build o and l iv that wor we ld, e in it.�
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Bedrock residence
A small architectural act in a natural setting encloses a home, everything remains bare, everything remains natural. Intrusive interventions have been avoided at all costs in order to preserve the organic naturalness of the cave, it has been balanced out with modern, rectangular lines that now enclose the home. The establishment follows the massive slope of the rock and thus it has windows facing south, gathering as much light as possible within, stark white walls further emphasize the feeling of space in this underground, under-rock home. The stark white walls also create an elegant contrast with the natural rock medium, a beautiful, artistically balanced work of art throughout.
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Underground homes are all about uniqueness, about simplicity in beautiful environments that should not be harmed nor be ignored. The closeness to earth is also a feeling that many of us pursue when looking for a place to call home and while this is something rare in the “traditional� real estate market house with underground homes it is readily available and even more beautifully, it is always different, distinct, one of a kind.
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Jakub Szczesny
World's narrowest house
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637 The Keret House is squeezed into a crevice between two buildings in the centre of Warsaw and will provide a temporary home for travelling writers. “It started with the space,” Szczesny told Dezeen, after explaining how he came across the site when walking home one day. “I started to think who could live there. It had to be a person that would like to be a hermit, someone who would like to spend time alone doing something, but doing what?” Szczesny, who is one of the co-founders of arts group Centrala, approached Israeli writer Etgar Keret to get involved in the project and the pair started developing a triangular house with just enough space for a single inhabitant to live and work. “It requires a sense of humour, as you cannot stay long in a place like this,” joked Szczesny. The body of the house is raised up on stilts and a staircase leads inside from underneath. At its narrowest point the house is no more than 72 centimetres wide. “Everything was custom and everything needed to be pushed,” said Szczesny, explaining how they managed to fit in all the necessary furnishings. The house will remain in place for at least two years, but could end up staying for good. “It has already become a Warsaw icon and is already on the tourist map,” said the architect.
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See through living This house in Tokyo by Sou Fukimoto Architects, known as House NA, stands out with its modern and transparent style. The building is unlike its neighboring houses in its appearance and structure. The interior of the residence has hardly any walls. The house boasts large glass windows for plenty of daylight, but the downside seems to be a lack of privacy. Just about everything indoors is exposed to neighbors and passerby. On the bright side, there are plenty of positive features in this vertical living space to focus on including its sleek, contemporary aesthetic with adventurous appeal. The design appears to mimic a tree without outright copying its appearance. There's also something about it that has the architectural feel of a bunk bed. I'm guessing it's all the climbing without actually entering a new room. The three-story edifice features various levels of living space within the segmented structure that's great to just hang out on, as if you were perched atop a tree branch. House NA is the modern interpretation of an adult treehouse for permanent residence.
839 Art,
take a look
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Take a look at this artist’s strange method. Xiang Chen is from the Hunan province of China. The painter and calligraphy artist attaches a giant paintbrush as big as 4.4 pounds to his eye, by inserting the flat metal end under his eye lids. He drags the brush with his eye to paint calligraphy paintings. While the paintings aren’t great, you still have to admire this bizarre painting technique. Outside of just painting and writing, Chen can also hold a stick in his eye and play the piano.
0 41 When looking at Emma Lindström’s work you feel transported to another dimension of colours and shapes. You might see the universe, the earth seen from outer space or a micro-cosmos, but there is one constant: The wonderful energy that you are almost able to touch that comes from Emma’s deep connection with music. In this exclusive interview with Pébéo, the young and successful Swedish artist talks to us about her process, her inspiration and more.
Emma Lindstrom
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TELL US ABOUT YOUR ARTISTIC JOURNEY, HOW DID IT BEGIN? I have always had the need to express myself and the energy moving through and inside of me. It started off musically through drums and various instruments, but in high school I found painting as the most powerful means of expression for me. From that point on there’s been no going back for me. I still make music as well, but I’d like to think that with my artwork I create music for the eyes as well. WHAT IS YOUR SOURCE OF INSPIRATION? Music is for sure the biggest inspiration in my work. I listen to music every day and all the time when painting, and I really feel that the art I create correspond emotionally and energetically to the music I find closest to my heart. The energy that touches or moves me the most can of course be portrayed in many different ways, but what I search for in music, when it comes to ambience and mood, comes naturally to me in the form of colours when I paint.
WHAT IS YOUR CREATIVE PROCESS? WHEN YOU ARE IN FRONT OF A WHITE CANVAS DO YOU ALREADY HAVE AN IDEA OF WHAT YOU WANT TO ACHIEVE OR IS THE RESULT A SURPRISE, EVEN FOR YOU? The process is, like life itself, a balance between control and chance. I don’t make too much planning ahead, but instead let the process itself guide me. This is as much a therapeutic process as it is a creative one. Of course I plan so much far ahead as to which colours and mood I’m going for, or rather what fits the mood I’m in at the moment, but after that it’s time to let go of some control, even though I’m still the one in the driving seat. When I try creating something that doesn’t correspond to where I am emotionally at the moment, the result never ends up good. The process simply doesn’t allow me to be “fake” or make something that isn’t authentically me. When the pouring
WHAT WOULD YOUR ADVICE BE TO YOUNG PEOPLE WHO ARE STUDYING OR THINKING TO ENTER IN THE ART WORLD? Just do it! Don’t overthink things, and try not to listen to your own and others’ fears and doubts. Life is creative, so ride the wave and pass the creative energy on to others. And art can be fun, no matter what they teach you at school.
and flowing is over, it’s time to take a step back and see what’s revealing itself to me this time. After that I wrap it all up by enhancing, highlighting and forming the piece to what I believe it wants to be. So as much as I’m surprised, I’m also not, because when it’s done it just feels like home. I couldn’t imagine a better creative process for me, to be taken for ride each time and finally end up safe at home, what more can I ask?
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647 Fiore writes about her work, stating: My drawings are created by containing and controlling firework explosions. I bomb blank sheets of paper with different fireworks including color smoke bombs, jumping jacks, monster balls, rings of fire, and lasers. As I work, I create imagery by controlling the chaotic nature of the explosions in upside-down containers. When the paper becomes saturated in color, dark and burned, I take it back to my studio and collage blank paper circles onto the image to establish new planes and open up the composition. I then continue to bomb the pieces. These actions are repeated a number of times. The final works contain many layers of collaged explosions and are thick and heavy. Fiore’s machine is built out of mixed media and found materials. It is fitted with wheels and is comprised of multi ple connected containers. When lit, the machine creates a combustion that releases smoke at different intervals. There’s no doubt that Fiore’s work is labor intensive, as she describes the physical and repeated process of building her images. Knowing this information provides for a greater appreciation of the work itself; It transcends what’s on paper and becomes the product of ingenuity.
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Map it out
“I think it’s very important for young designers to do two things. One: spend the first one to five years learning how to design and present design from somebody who is terrific at it. Having that basic understanding will carry you through the rest of their career. The second is this: develop the ability to explain, defend, and promote your work. Those are the two most important things.”
849 It’s hard to believe that a single creative mind could be responsible for both the polished corporate-ness of the Citibank logo and the loudly expressive poster designs of historic Public Theater productions like Bring in ‘Da Noise, Bring in ‘Da Funk. Yet this all-embracing sensibility is the calling card of Paula Scher, a reigning titan in a heavily male-dominated industry.
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After working for decades designing record covers and magazines, Scher became a prin has remade the identities of brands ranging from Microsoft to the Museum of Modern A and a mural-scale painting practice that is all her own. The “postmodern” appellation d sorts of jobs and clients she takes on, REFLECTING HER BELIEF THAT MU
DIGNIFIED DESIGN AS VANGUARD LOCAL ARTS ORGANIZATIONS
neutral and “clean” designs. For Scher, expressivity is of paramount value. Whether or not you agree with all of her positions, Paula Scher is an important figure f for Pentagram, some from earlier) with some great nuggets of wisdom pulled from inte boredom in the creative process.
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nci pal at the heavy-hitting design agency Pentagram in 1991. Since then she Art, all the while maintaining an abiding interest in environmental design, derives partly from Scher’s refusal to draw lines in the sand with regard to what
ULTINATIONAL CORPORATIONS ARE JUST AS WORTHY OF S. It also stems from her exuberant rejection of modernist strictures demanding
for all up-and-coming designers. Below we’ve paired ten of her key designs (some erviews, on topics ranging from the social value of design to the importance of
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t n e n m e g n a r r a l a u s nA unu
253 In the mid-nineties, Francois Robert won three lockers at auction. One of those lockers contained a human skeleton. Usually, this is the point where an episode of CSI would break out
545 but upon further investigation the skeleton, while real, had been wired together for use in a classroom. Relieved, Robert decided to trade the skeleton for two-hundred and six separate human boneRobert arranges the bones in six-foot wide iconic images before photographing them. The project, called “Stop the Violence,” is comprised of images associated with death. The shoots take an entire day to set up but the results speak for themselves. Robert’s own fear of death motivates him to create the image, though there is a message here. As Robert explains, “...I wanted to show that sadly the human skeleton is often all that remains from such acts of violence. This is what you are left with after war - a body count.”
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Rorschach
56 This section shows a more personal representation of an individuals interpretation. The Rorschach test is a psychological test in which subjects’ perceptions of inkblots are recorded and then analyzed using psychological interpretation, complex algorithms, or both. Some psychologists use this test to examine a person’s personal ity characteristics
657 and emotional functioning. We have used this test to show how different people have different interpretations of the world around them, a unique way of seeing and understanding things. There are six images, each person was asked to write down a sentence explaining what they saw in the inkbolts.
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