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Emotions Color

An Art Therapy Directive

Description: This activity is good to break the ice with any client. It is also an easy check-in to find
out how the client is feeling and the issues he/she is dealing with at this time in his/her life. After creating
a pie chart with 8 sections, the client gets to choose 8 emotions and then color in the pie pieces.
Materials: Colored Pencils or Markers and a White Piece of Paper.
First Start with a piece of white paper and draw a circle filling the page.
Second Draw a line straight down the center of the circle, then draw a line down the center, crisscrossing the first line. Follow this by halving the other pies and again until you have 8 pies.
(Descriere: Aceast activitate este bine sa sparga gheata cu orice client. Este, de
asemenea, un simplu "check-in" pentru a afla modul in care clientul se simte i problemele
el / ea este de-a face cu n acest moment n lui / ei de via. Dup crearea unui grafic
plcint cu 8 seciuni, clientul ajunge s aleag 8 emotii si apoi de culoare din piesele
Materiale: Creioane sau markere colorate i o bucat de hrtie alb.
n primul rnd - ncepei cu o bucat de hrtie alb i desena un cerc umple pagina.
n al doilea rnd - Desenai o linie dreapt n jos de centrul cercului, apoi trage o linie n jos
de centru, traverseaz prima linie. Urmai acest lucru prin reducerea la jumtate de
celelalte plcinte i din nou, pn cnd vei avea 8 plcinte.)

Third Ask the client, What are 8 emotions that you would like to put in each pie on the wheel? Then,
as the client mentions the emotions place the word above the pie (on the outside). (The client may need
some assistance with coming up with 8 emotions. Give assistance but be careful to not choose for the
Fourth Ask the client to now fill in each pie with a corresponding color or picture that matches his/her
idea of what the emotion means to him/her.
(n al treilea rnd - Adresai-v clientul, "Care sunt 8 emotiile pe care le-ar dori s pun n
fiecare plcint pe roata?" Apoi, ca i clientul menioneaz emoiile plasai cuvntul de mai
sus placinta (la exterior). (Clientul poate nevoie de ajutor cu a veni cu 8 emotii. Ofer
asisten, dar avei grij s nu pentru a alege pentru client.)
n al patrulea rnd - Adresai-v clientul s completeze acum n fiecare plcint cu o culoare
corespunztoare sau o imagine care se potrivete lui / ideea ei de ceea ce nseamn emoia
la el / ea.)

Fifth When the client is finished coloring have him/her explain what had him/her choose the color or
explain what the picture means.
Sixth Ask the client to share where in his/her life he/she is experiencing that emotion/feeling. Dialogue
about it as the client feels comfortable.
(n al cincilea rnd - n cazul n care clientul este terminat de colorat l avea / ea explica ce l-am avut / ea
alege culoarea sau s explice ce nseamn imaginea.
A asea - Adresai-v clientul s mprteasc n cazul n care n lui / ei de via el / ea se confrunt cu
emoie c / sentiment. Dialog despre el ca clientul se simte confortabil.)

Outcome: This exercise is designed to have your client open up and feel more comfortable expressing
his/her emotions/feelings, and establishing rapport/trust with you!
Questions to Ask Client:
1) Could you tell me about your Emotions Color Wheel?
2) What had you choose that color/design for that emotion?
3) Where else in your life do you experience that emotion/feeling?
Note: Use affirmative statements with the client. Always acknowledge the client's positive qualities and
work with the client to notice their own ability to create beauty/something of importance/value.
(Rezultat: Acest exerciiu este conceput pentru a avea clientul dvs. se deschid i s se
simt mai confortabil exprima lui / emoiile / sentimentele, i stabilirea unor relaii /
ncredere cu tine!
ntrebri pentru a solicita clientului:
1) Ai putea s-mi spui despre sentimentele tale Color roti?
2) Ce te-a alege culoarea / proiectare pentru acea emoie?
3) n cazul n care altceva in viata ta nu ai experien ca emoie / sentiment?
Not: Folosii afirmaii pozitive cu clientul. Recunosc ntotdeauna calitile pozitive ale
clientului i de a lucra cu clientul pentru a observa capacitatea lor de a crea frumusete /
ceva de o importan / valoare.)

Inside/Outside Boxes
An Art Therapy Directive

Intention - This directive is designed to assist the client in drawing a line between what is "bad" in their
lives and what is "good" in their lives. It also helps them to have a visual representation (and begin to
conceptualize) the idea that they can "put a lid" and "contain" their negativity.
Population - This is good for any population, but especially good for those who have been traumatized
or experienced some kind of loss.
Materials - Magazines, Scissors, Glue, and Shoe Box (or another box with a lid)
(Intenia - Aceast directiv este conceput pentru a asista clientul n desen o linie ntre ceea
ce este "ru" n viaa lor i ceea ce este "bun" n viaa lor. De asemenea, i ajut s aib o
reprezentare vizual (i ncepe s conceptualizeze), ideea c pot "pune un capac" i
"conine" negativitatea lor.
Populaia - Acest lucru este bun pentru orice populaie, dar mai ales de bun pentru cei care
au fost traumatizate sau experimentat un fel de pierderi.
Materiale - Reviste, foarfece, lipici, si cutie de pantofi (sau un alt cutie cu un capac))

Step 1 - Have the client pick out a box that they like (shoe boxes are perfectly - something with a lid).
Then, have the client cut out images (in magazines) and/or words that are both "bad" images and "good"
images (images that he/she feels drawn to).
(Pasul 1 - Ai clientul alege o cutie pe care le place (cutii de pantofi sunt perfect - ceva cu un
capac). Apoi, s-au clientul decupat imagini (n reviste) i / sau cuvinte care sunt ambele
imagini "rele" i imaginile "bune" (imagini pe care el / ea se simte atras de).)

Step 2 - When the client is ready, have him/her glue the "bad" (or negative) images in the center or inside
of the box. Then, place the "good" (or positive) images on the outside of the box.
Step 3 - Ask the client to share about each image/word chosen and what it symbolizes for him/her.
Process whatever issues show up at this time.
(Pasul 2 - n cazul n care clientul este gata, l-au / ea lipici imaginile "rele" (sau negative), n
centru sau n interiorul cutiei. Apoi, punei imaginile "bune" (sau pozitive), pe partea
exterioar a cutiei.

Pasul 3 - cere clientului s mprteasc despre fiecare imagine / cuvnt ales i ceea ce
simbolizeaz pentru el / ea. Procesul de orice probleme apar la acest moment.)

Note - Make sure highlight the idea that each person has the ability to put the "lid" on to the negative
things any time they want, taking off only when he/she is ready to deal with or work on. These concepts
are very fundamental to introducing the idea of how to begin to establish healthy boundaries with self,
and finding healthy/appropriate ways to deal with pain memories/emotions.
Suggested Questions:
1) How does it feel to be able to put a "lid" on the negative stuff?
2) What are the positive things going on in your life/what are the positive things on your box?
3) How can you begin to "put a lid" on your negative emotions at this time? What are some skills you can
design or put in place?
(Not - Asigurai-v evidenia ideea c fiecare persoan are capacitatea de a pune
"capacul" pe lucrurile negative n orice moment doresc, decolarea numai atunci cnd el / ea
este gata pentru a face fa sau de lucru pe. Aceste concepte sunt foarte fundamentale
pentru introducerea ideii de cum s nceap s se stabileasc limite sntoase cu sine, si
gasirea unor modalitati sanatoase / adecvate pentru a face fa cu durere amintiri / emoii.
ntrebri sugerate:
1) Cum e s fii capabil de a pune un "capac" pe lucrurile negative?
2) Care sunt lucrurile pozitive se ntmpl n viaa ta / care sunt lucrurile pozitive pe cutia

3) Cum poi ncepe s "pun un capac" pe emoiile negative, n acest moment? Care sunt
unele aptitudini pe care le poate proiecta sau puse n aplicare?)

Outside/Inside Masks
An Art Therapy Directive

Description: People often do not realize that they put on masks when interacting
with others. We wear masks to get through stressful times. We put on masks when
we are with our children being loving and nurturing, at work being professional, and
with strangers to keep them from seeing too much (to name a few). There are
thousands of masks we wear, sometimes all within one day. This directive is
designed to help clients begin to become aware of these masks so that they can
choose what masks to wear. They will also become more aware of what is really
going on behind the masks in order to learn how to deal with them in healthy ways.
Materials: There are a multitude of ways clients can make masks. The simple way
is to use regular paper and markers or colored pencils. You can also have the client
make a mask out of paper Mache, or buy a mask at Hobby Lobby and have the
client decorate it.
First Explain the nature of masks to the client. Have the client identify some of
the masks she wears and why.
Second Draw an oval shape on a piece of paper, taking up the whole sheet. Put
eyes, nose and mouth in a general shape on the paper, inside the oval. Put the word
Outside at the bottom of the sheet to identify that this drawing will be the mask
that the client shows to others.
(Descriere: Oamenii de multe ori nu i dau seama c au pus pe mti atunci cnd

interacioneaz cu ceilali. Am purta mti pentru a obine prin intermediul ori stresante.
Am pus pe mti atunci cnd suntem cu copiii notri fiind iubitoare i cultivarea, la locul de
munc fiind profesionist, i cu strinii pentru a le mpiedica s vad prea mult (pentru a
numi doar cteva). Exist mii de mti le purtm, uneori toat termen de o zi. Aceast
directiv este conceput pentru a ajuta clientii ncepe s devin contieni de aceste mti,
astfel nct acestea s poat alege ce s poarte mti. Ei vor deveni, de asemenea, mai
contieni de ceea ce se ntmpl cu adevrat n spatele mtilor, n scopul de a nva cum
s se ocupe de ele ntr-un mod sntos.

Materiale: Exist o multitudine de moduri de clienti pot face mti.Simplu mod este de a
utiliza hrtie i markere regulat sau creioane colorate. Putei avea, de asemenea, clientul
face o masca din hrtie Mache, sau s cumpere o masca de la Hobby Lobby i au client-l
n primul rnd - Explicai natura de "mti" la client. Au clientul identifica unele dintre cele
mai "mtile" pe care le poarta si de ce.
n al doilea rnd - Desenai o form oval pe o bucat de hrtie, pentru accesul la ntreaga
pagin. Pune ochii, nasul i gura ntr-o form general pe hrtie, n interiorul oval. Pune
cuvntul "afara" din partea de jos a foii de a identifica c acest desen va fi masca pe care
clientul arat la alii.)

Third Ask the client to draw what comes to mind when she is showing others a
(general) mask.
(n al treilea rnd - Adresai-v clientul pentru a atrage ceea ce vine n minte atunci cnd ea
arat alii o (general) "masca".)

Fourth After the client finishes the drawing for the Outside mask, take a second
piece of paper and draw the oval, eyes, nose and mouth in the same way you drew
the first mask features. At the bottom of the paper write Inside to identify that this
drawing will be what is really going on inside the person, how she is feeling inside.
Ask the client to decorate it however she would like.

(n al patrulea rnd - Dup ce clientul se termin desenul pentru masca "afara", ia un al doilea bucat de
hrtie i trage oval, ochi, nas i gur, n acelai mod n care a atras n primele caracteristici masca. n
partea de jos a scrie lucrarea "Inside", pentru a identifica c acest desen va fi ceea ce se ntmpl cu
adevrat n interiorul persoanei, modul n care ea se simte n interiorul. Adresai-v clientul s-l decora cu
toate acestea ea ar dori.)

Fifth When the client is done drawing both the Outside and Inside faces, ask her
to tell you about the drawings. Have a discussion about what she sees in her
drawings. Write down what the client says about each image they created and color
they chose. (Ask permission before you write or mark on the picture, and then I
suggest you do it in pencil.) Make an arrow and then write down each meaning
indicated by the client. This will enter in words (which will activate the left side of
the brain) and the images (which has already activated the right side of the brain).
It will also give you a clear guide to the image later when you go over these images
at the end of the time with the client, for the review of the artwork created and
therapy completed.
(n al cincilea rnd - n cazul n care clientul se face desenul att la exterior i feele interioare, cere-i s-i
spun despre desene. Au o discuie despre ceea ce vede n desenele ei. Notai ceea ce spune clientul despre
fiecare imagine au creat i culoare au ales. (Cerei permisiunea nainte de a scrie sau marca pe imagine, i
atunci v sugerez s o faci cu creionul.) Asigurai-o sgeat i apoi scrie fiecare sens indicata de client.
Aceasta va intra n cuvinte (care va activa n partea stng a creierului) i imaginile (care a activat deja n
partea dreapt a creierului).
Acesta va oferi, de asemenea, un ghid clar pentru imaginea mai trziu, atunci cnd te duci peste aceste
imagini la sfritul timpului cu clientul, pentru revizuirea operei de art create i terapia terminat.)

Follow-up Questions:

Tell me about the drawings you created. How did it go?

2) How are the drawings different? How are they the same?
3) What do the colors mean to you?
4) What did she see about herself in the overall process?
Objective for this Directive:
1) Allowing the client to have a safe space to begin to get in touch with her feelings
is imperative. Each client has different ways of looking at this directive. Some will
catch on quickly and be able to express how they are feeling. Others will need more
guidance. It is always important to make sure to emphasize to the client that this is
a safe space where the client can express herself and experience acceptance in
the process. Also, by creating a safe space the client is beginning to learn who
may be a safe person to open up to and who is not, trusting herself to know the
2) Increasing the clients self-awareness and self-acceptance. By encouraging that
the client is in a safe space the client is also receiving the message that it is OK to
feel what she is feeling, and that it is acceptable. This promotes self-acceptance in
general and can increase the clients willingness to deal with negative emotions,
especially when her confidence increases through the use of healthy ways to
express and communicate those emotions that may be more uncomfortable.
3) Identifying the difference between what the client communicates with others
versus what she is actually feeling can stimulate conversations for healthy
communication and increase the clients sense of self-control. This exercise
naturally opens conversation that highlights healthy boundaries and how they
work. It is not always appropriate to share everything one is feeling with others.
Conversely, it is not always healthy to keep everything inside, not sharing anything.
Finding that balance is key to being mentally healthy. It is important for the client to
learn when it is appropriate to share and when it is not.
NOTE: This mask directive can be applied to any masks you want to create with your client. Have fun
with it and allow the client to explore the metaphors in masks. You can add sequence, feathers, beads, and
anything else the client would like to utilize. You can pick up basic white masks at Hobby Lobby, which
make great canvases to make some amazing masks. There are a myriad of ways to create masks. Explore
and have fun with it!
(Follow-up ntrebri:
1) Spune-mi despre desenele create. Cum a mers?
2) Cum sunt desenele diferit? Cum sunt ele la fel?
3) Ce nseamn culorile pentru tine?
4) Ce a vedea despre ea n procesul general?

Obiectiv pentru prezenta directiv:

1) de a permite clientului de a avea un spaiu sigur pentru a ncepe s intre n contact cu sentimentele ei
este imperativ. Fiecare client are diferite moduri de a privi aceast directiv. Unii vor prinde pe rapid i s
fie capabil s-i exprime cum se simt. Alii vor avea nevoie de mai mult ndrumare. Este ntotdeauna
important s v asigurai pentru a sublinia clientului c aceasta este o "spaiu sigur", n cazul n care
clientul se i acceptare experien pot exprima n acest proces. De asemenea, prin crearea unui "spaiu
sigur" clientul ncepe s nvee care ar putea fi o persoan "sigur" pentru a deschide pn la care nu este,
ncrezndu-se s cunoasc diferena.
2) Creterea contiinei de sine a clientului i acceptarea de sine. Prin ncurajarea c clientul este ntr-un
spaiu sigur clientul primete, de asemenea, mesajul c este OK s se simt ceea ce simte, i c este
acceptabil. Aceasta promoveaz auto-acceptare, n general, i poate crete dorina clientului de a face cu
emotii negative, mai ales atunci cnd ncrederea n sine crete prin utilizarea de metode sntoase de a
exprima i de a comunica aceste emotii care pot fi mai incomod.
3) Identificarea diferena ntre ceea ce comunic clientului cu alte persoane, fa de ceea ce ea este, de
fapt sentiment poate stimula conversaii de comunicare sntos i de a crete sentimentul clientului de
auto-control. Acest exerciiu se deschide in mod natural conversaie care scoate n eviden limite
sntoase i modul n care acestea funcioneaz. Nu este ntotdeauna necesar s se mprteasc totul
unul se simte cu alii. n schimb, aceasta nu este ntotdeauna sntos de a pstra totul n interiorul, nu
schimbul de nimic. Gsirea c echilibrul este cheia de a fi sntos mintal. Este important pentru client
pentru a afla cnd este necesar s se mprteasc i atunci cnd nu este.
NOT: Aceast directiv masc poate fi aplicat la orice masti pe care dorii s creai cu clientul tau.
Distreaza-te cu el i permite clientului de a explora metaforele n mti. Putei aduga secven, pene,
margele, i orice altceva care clientul ar dori s utilizeze. Putei ridica mti albe de baz de la Hobby
Lobby, care fac tablouri de mare pentru a face unele mti uimitoare. Exist o multitudine de moduri de a
crea mti. Exploreaz si distreaza-te cu ea!)

My Magic Creation
Art Therapy Directive

1) This directive can be used to increase self-esteem and creativity.

2) Supplies: Crayola Model Magic, acrylic paint, paint brushes, markers, glue, sequence, feathers,
beads, scraps of ribbon and/or fabric, etc.
3) Instructions:
* Create a sculpture of any object(s) you like.
(1) Aceast directiv poate fi utilizat pentru a crete stima de sine i creativitate.
2) Consumabile: Crayola model Magic, vopsea acrilica, pensule, markere, lipici, secven, pene, margele,
resturi de panglic i / sau material, etc
3) Instructiuni:
* Crearea o sculptur de orice obiect (e) pe care dorii.)

* It can be one object, or more.

* Let it dry over night (24 hours), then paint it or use markers to add color.
* Glue sequence, feathers, and anything that will make it special to you.
(* Poate fi un obiect, sau mai mult.
* Lasati sa se usuce peste noapte (24 ore), apoi vopsea sau de a folosi markeri pentru a
aduga culoare.
* Secven Adeziv, pene, i ceva care va face special pentru tine.)

* Once your magic creation is complete, take out a piece of paper and write a story. Imagine that this
item has mysteriously come in to your life and changed it. What happens? Use your imagination and
have fun with the story. It should be at least a paragraph long, and no longer than a single page.
* Share your story and your magical creation with the group.

3) Follow-up Questions:
* What object did you create?
* What is it about your story that you like?
* What is it about your story that you do not like?
* If you could change your story, would you? If yes, how?
(* Dup crearea magic este complet, scoate o bucat de hrtie i scrie o poveste. Imaginai-v c acest
articol a venit n mod misterios n viaa ta i a schimbat-o. Ce se ntmpl? Foloseste-ti imaginatia si sa te
distrezi cu povestea. Ar trebui s fie de cel puin un paragraf lung, i nu mai mult de o singur pagin.
* Spunei-v povestea i creaia ta magic cu grupul.
3) Urmrirea ntrebri:
* Ce obiect ai creat?
* Despre ce este vorba povestea ta care iti place?
* Despre ce este vorba povestea ta care nu-i place?
* Daca ai putea sa schimbi povestea, nu-i aa? Dac da, cum?)
1) Create a mythical creature.
1) Creai o creatur mitic.)

2) Make a diorama out of model magic and a shoe box - to reinact a drama.
2) A face o dioram din modelul de magie i o cutie de pantofi - a reinact o dram.

3) Make "Dream", "Relax", and/or "Inspire" Balls.

Artist Trading Cards Artist carduri de tranzacionare

An Art Therapy Directive

Card Stock

Different decorative items

Glue Sticks

Creating art can be stressful sometimes. That is why making a little piece of art may not be so
overwhelming. In this directive you will decorate a baseball-sized card that you can trade with your
friends, family, or even acquaintances from around the world.
Card Sticks Stock foarfece de lipit
Reviste diferite obiecte decorative
Crearea de art poate fi stresant uneori. Acesta este motivul pentru a face o "bucat mic
de art", nu poate fi att de copleitoare. n aceast directiv va decora o carte de-baseball
dimensiuni care puteti tranzactiona cu prietenii, familia, sau chiar cunoscui din ntreaga
lume. )

Take the card stock and cut it in to rectangles of 2 x 3 inches (63 mm X 89 mm). On one side,
glue images from magazines for a collage or paint/draw what you would like; creating a little piece of art.
On the back side, give the card a Title at the top, and then a description of what the card means to you,
under the title. Personalize the theme so that it is something special or important to you. Finish the card
by placing your signature at the bottom, along with the date. Either keep the card for your personal
collection or trade it with someone else who is doing trading cards also.
Ia de carton i se taie n dreptunghiuri de 2 x 3 inch (63 mm x 89 mm). Pe de
o parte, imagini de clei din reviste pentru un colaj sau vopsea / desena ceea ce
dorii; crearea o mic bucat de art. Pe partea din spate, da cardul de un "titlu"
n partea de sus, i apoi o descriere a ceea ce nseamn cardul la tine, sub titlul.
Personalizarea temei, astfel c este ceva special sau important pentru tine.
Terminai cardul prin plasarea semntura n partea de jos, de-a lungul cu data.
Fie pstra cardul pentru colecia personal sau comerul cu cineva care este de a
face carduri de tranzacionare, de asemenea.

Reflection/Processing Questions:
1) What was it like to create your own little piece of art work?
2) How does it feel to be able to trade it with someone that appreciates your art creation?
3) What sorts of ideas do you have for your next artist trading card?
ntrebri de reflecie / prelucrare:
1) Cum a fost pentru a crea propria bucata mica de opere de art?
2) Cum e s fii capabil s-l schimb cu cineva care apreciaz creaia ta de arta?

3) Ce fel de idei avei pentru urmtoarea cardul dvs. de tranzactionare artist?

Expressive Outcome Possibilities:

1) Person(s) will be able to be creative and expressive.
2) Person(s) will be able to explore and experience different art media.
3) Person(s) will be able to increase their sense of self-worth and value.
4) Person(s) will be able to connect with others and reach out in healthy ways to share.
Posibiliti Rezultat expresive:
1) Persoana (e) va fi capabil de a fi creativ i expresiv.
2) Persoana (e) va fi capabil de a explora i experimenta diferite medii art.
3) Persoana (e) va fi n msur s creasc sentimentul lor de sine i de valoare.
4) Persoan (e) va fi capabil s se conecteze cu alii i de a ajunge ntr-un mod
sntos de a mprti.

Stress Dolls
(Otherwise known as a Dang-it Doll)
Art Therapy Directive

Yarn or string
Wooden frame or Stick
Pens or Markers

Colorful Pipe Cleaners
Elmers Glue or Glue Gun

Sometimes we get stressed out. Life can be busy and full of challenges. We may begin to feel
like we have no way to relax or reduce the tension that builds up during the day. This activity is designed
to help reduce stress and is done through making a Stress Doll. Instead of holding the stress, you get to
take it out on the doll. This is done through manipulating it, playing with it, or just pounding it on the
Take the wooden stick and create a body shape using the pipe cleaners for arms and legs. Begin to
wrap the body with the string or yarn you have. Create a shirt, skirt/pants, and hair. Cut out a circle from
the paper and draw a face on it. Glue the face to the head of the doll. Add whatever details you would like
that will give the doll the personality you want.
Fire sau ir foarfece
Cadru de lemn sau Stick de curare pentru evi de colorat
Cartea lui Elmer Adeziv sau Pistol de lipit
Pixuri sau markerilor
Uneori ajungem ", a subliniat afar". Viaa poate fi ocupat i plin de provocri. Sar putea ncepe s se simt ca nu avem nici o modalitate de a relaxa sau a
reduce tensiunea care se acumuleaz n timpul zilei. Aceast activitate este
proiectat pentru a ajuta la reducerea stresului i se face prin a face o "Stresul
Doll". n loc de a deine stresul, ajungi s-l ia pe papusa. Acest lucru se face prin
manipularea ea, jucndu-se cu ea, sau doar bate-l pe mas.
Ia b de lemn i de a crea o forma corpului folosind curatatorii eav pentru
brate si picioare. ncepei s-i ncheie corpul cu irul sau fire avei. Creai o
camasa, fusta / pantaloni, i prul. Tiai un cerc de hrtie i trage un chip pe ea.
Lipici faa efului de papusa. Adauga orice detalii doriti, care va da papusa
personalitatea pe care dorii.

Reflection/Processing Questions:
1) What are the issues that the doll represents?
2) How does it feel to be able to take out your frustrations on the doll?
3) How is taking your feelings out on the doll ok, versus taking your feelings out on other people?
4) What would be other helpful ways for you to let go of your stress/anger/frustration?
ntrebri de reflecie / prelucrare:
1) Care sunt problemele cu care ppua reprezint?
2) Cum e s fii capabil de a scoate frustrrile pe papusa?
3) Cum este de a lua sentimentele pe papusa ok, comparativ cu luarea sentimentele tale pe alte
4) Care ar fi alte modaliti utile pentru tine de a da drumul de stres / furie / frustrare?

Expressive Outcome Possibilities:

1) Person(s) will be able to be creative and expressive.
2) Person(s) will be able to explore and experience different art media.
3) Person(s) will be able to become more aware of themselves and how to deal with negative emotions in
healthy ways.
Posibiliti Rezultat expresive:
1) Persoana (e) va fi capabil de a fi creativ i expresiv.
2) Persoana (e) va fi capabil de a explora i experimenta diferite medii art.
3) Persoana (e) va putea s devin mai contieni de ei nii i cum s se ocupe
cu emoii negative ntr-un mod sntos.

How to Make a Stress Doll

People, events and emotions in our lives can often make us feel trapped, angry, and stressed. Emotions
have strong influences over your body, and unreleased stress or anger can often become pent up inside
and cause you more pain/anxiety. Although working things out emotionally is something we all have to
do during various stages of our person lives, often physical release can help you get rid of strong
emotions and spur of the moment anger/stress bursts, therefore making it easier for you to think clearly
However, things can become dangerous if you take out emotions by harming others - or by going over the
top. Screaming or even hurting people, smashing and ruining things leave damage and hurt that will last
longer than your stress. To avoid making mistakes and hurting yourself or others more, making a stress
ball is a great idea. Stress dolls can be thrown, kicked, punched - used in any way that helps relieve your
emotions. After using your stress doll regularly, your subconscious will come to link the stress doll to the
release, creating a safer and much healthier way of releasing your emotions.
Cum sa faci un stres Doll
Oamenii, evenimentele i emoiile din viaa noastr poate face de multe ori ne simtim prinsi,
suprat, i a subliniat. Emoiile au influente puternice asupra corpului tu, i de stres nelansate sau
furie poate deveni de multe ori acumulat n interiorul i voi provoca mai mult durere / anxietate.
Dei lucrurile de lucru din punct de vedere emotional este ceva ce noi toi trebuie s facem n timpul
diferitelor etape ale vieii noastre persoane, de multe ori eliberarea fizic poate ajuta sa scapi de
emotii puternice si pinten de exploziile moment de furie / stres, prin urmare, ceea ce face mai uor
pentru tine de a gndi clar dup aceea.
Cu toate acestea, lucrurile pot deveni periculoase dac scoate emotii de ru altora - sau de a merge
pe partea de sus. ipnd sau chiar rnii oameni, zdrobitor i distrug lucrurile lsa prejudiciu i
rnit, care va dura mai mult de stres. Pentru a evita greelile i te doare sau alii mai mult, fcnd o
minge de stres este o idee mare. Ppui de stres pot fi aruncate, lovit, perforate - utilizat n orice
mod care ajuta la ameliorarea sentimentele tale. Dup utilizarea papusa de stres n mod regulat,

subconstientul tau va veni pentru a lega papusa stres la eliberarea, crend un mod mai sigur i mult
mai sntos de a elibera sentimentele tale.


Draw an outline of a doll on a sheet of paper with a sharp pencil and cut it out. This will be
your pattern. When drawing your outline, think about things that will make your stress doll easier
to use. It may be helpful to consider that:
o Larger dolls are easier to use, because they're better for punching or just squeezing like a
stress ball.
o Making the shape of your doll very simple can help - rather than making a detailed and
precise sketch, try to make the doll round shaped or long, making it easier to use so that
various bits and bobs of the doll don't get in your way.

Desenai o schi de o papusa pe o foaie de hrtie cu un creion ascuit i taie-l. Acest lucru va fi
modelul dumneavoastr. Cnd schita ta, cred despre lucrurile care vor face papusa de stres mai
uor de utilizat. Ar putea fi util s ia n considerare c:

O ppui mai mari sunt mai uor de utilizat, pentru c sunt mai bine pentru perforare sau doar
stoarce ca o minge de stres.
o Efectuarea forma de papusa ta foarte simplu poate ajuta - mai degrab dect a face o schi
detaliat i precis, s ncerce s fac papusa de form rotund sau lung, ceea ce face mai uor de
utilizat, astfel nct diferitele bii i Bobs de papusa nu primesc n drumul tau.

2Use the pattern to cut out 2 dolls from your fabric. Remember that the fabric you use can be
symbolic and helpful, rather than just anything. For example, fabric in a calming color, such as
blue, may help you remember that things will settle eventually. Or you can use a more violent
colour such as red, to help get rid of the anger and stress and so you feel like the doll means
something. You can also cut the 2 sides of the doll out in different colours, so one side may be an
angry/stressful colour, and then the next side calm, so that you can use the angry side and then the
Utilizai modelul a tiat dou ppui din material tu. Amintii-v c
materialul utilizai pot fi simbolic i util, mai degrab dect orice. De
exemplu, material intr-o culoare calmanta, cum ar fi albastru, v poate
ajuta s ne amintim c lucrurile se vor rezolva n cele din urm. Sau putei
folosi o culoare mai violent, cum ar fi rosu, pentru a ajuta la a scpa de
furia i stresul i aa te simi ca papusa nseamn ceva. Poti taia, de
asemenea, cele 2 pri ale papusa n culori diferite, astfel nct o parte
poate fi o culoare furios / stresant, i apoi urmtoarea parte calm, astfel
nct s putei folosi partea de furios i apoi panic.

Pin the right sides of the 2 doll fabric pieces together with sewing pins. Check for any
inaccuracies in your cutting or overall shape and fix them quickly. When pinning, be sure to line
the edges up carefully.
PIN din dreapta de bucile de material 2 papusa, mpreun cu ace de
cusut. Verificai dac exist inadvertene n tiere sau forma de ansamblu
i le rezolvai repede. Cnd fixarea, asigurai-v c pentru a alinia
marginile n sus cu grij.

Sew the 2 doll fabric pieces together, using a thread that matches the fabric. Remove any pins
that you come across as you are sewing. Leave a small section, at least 1-inch long, open.
Coase bucile de material 2 papusa mpreun, cu ajutorul unui fir care se
potrivete cu materialul. ndeprtai orice pini care vin peste tine ca esti de
cusut. Las o mic seciune, cel puin lung de 1 inch, deschis.

Reach inside the open side of the fabric dolls and stuff the doll with your fabric stuffing..
Like the shape and colour, the stuffing can also make your stress doll better to use - if you're a
kicker or a puncher, soft, squashy material will work for you - a squeezer might prefer uncooked
rice so the doll feels grainy. Make sure that you stuff the doll well, but are able to sew up the side
. Ajunge n interiorul partea deschis de ppui esturi i umple papusa cu umplutur ta
material .. cum ar fi forma i culoarea, umplutura poate face, de asemenea ppu de stres mai bine
s folosii - dac eti un fotbalist sau un puncher, moale, squishy material va lucra pentru tine - un
storcator ar putea prefera orez nefiert aa papusa se simte granular. Asigurai-v c ai chestii
papusa bine, dar sunt n msur s coase pe partea.

Stitch the opening closed. If you want, you can draw a face or other features on your doll or just
leave it blank. Remember that no design is right or wrong - all that matters is that the doll works
for you.
Stitch deschiderea nchis. Dac dorii, putei desena un chip sau alte
caracteristici pe papusa ta sau doar lsai-l gol. Amintii-v c nu de design
este bine sau ru - tot ceea ce conteaz este c ppua lucreaza pentru

Boundary Drawings

limit Desene

An Art Therapy Directive

Often, people do not understand how boundaries work. This directive helps to define,
highlight, and then create the establishment of healthy boundaries/limits. If there were
ever an art therapy directive that makes a HUGE difference, this directive would be IT!
Knowing when to say yes and how to say no can often be a challenge for people. If a client grew up
in an abusive (physical, emotional, sexual, neglect, etc.) environment, that person may have been taught
that it is not OK to say no. The person may have been taught that their body is not their own. In this
directive you will do a simple exercise with the client to begin to explore the importance of healthy
boundaries identifying what they look like, how they work, and beginning to implement them in their

White paper, Colored Pencils or Magic Markers or Crayons


Begin the session with defining what boundaries are.

There are boundaries/limitations used in every aspect of life, including but not limited to:
ii. Work
iv. Health
v. Money
b. There are three types of boundaries (draw out an example of each of these boundaries quickly):
There are overly RIGID boundaries (This person has shut herself off to the world
around her/him, saying "NO" to the bad things, but also saying "NO" to the good things in life. This
person feels isolated and lonely, at the expense of feeling in control.)
De multe ori, oamenii nu neleg cum funcioneaz limite. Aceast directiv contribuie la definirea,
evideniai, i apoi a crea stabilirea de limite sanatoase / limite. Dac ar exista vreodat o directiv
terapie prin arta, care face o mare diferen, aceast directiv ar fi IT!
tiind cnd s spun "da", i cum s spun "nu" poate fi de multe ori o provocare pentru oameni. n
cazul n care un client a crescut ntr-o abuziv (fizic, emoional, sexual, neglijare, etc), mediu, c
persoana poate au fost nvai c nu este bine s spui "nu". Persoana poate s fi fost nvai c
organismul lor nu este a lor. n aceast directiv va face un exerciiu simplu cu clientul pentru a
ncepe s exploreze importana limite sntoase - identificarea ceea ce arata ca, cum funcioneaz,
i ncep s le pun n aplicare n viaa lor.
Hrtie alb, creioane colorate sau Magic Marker sau creioane
1) ncepe sesiunea cu definirea a ceea ce limite sunt.
o. Exist limite / limitari utilizate n fiecare aspect al vieii, inclusiv, dar fr a se limita la:
i. Relaii
ii. Munca
iii. timp
iv. Sntate
v. Banii
b. Exist trei tipuri de granie (scoate un exemplu din fiecare dintre aceste limite repede):
i. Exist limite prea stricte ... (Aceast persoan se a oprit la lumea din jurul ei /
lui, spune "nu" la lucrurile rele, dar, de asemenea, spune "NU" la lucrurile bune din viata. Aceast
persoan se simte izolat i singuratic, n detrimentul sim i n control.)

ii. There are overly WEAK boundaries (This is where the person cannot say
"NO" to anyone. Instead they say "YES" so often that they begin to feel overwhelmed, out of control and
unhappy about their lives. They are afraid of saying "NO" because they don't want to hurt anyone's

feelings, or they don't want to make anyone made, or they just don't think they have a right to say what
they will do with their lives and what they won't.)
ii. Exist limite prea slabi ... (Aceasta este n cazul n care persoana nu poate spune "NU" la nimeni. In
schimb se spune "DA", att de des nct ei ncep s se simt copleit, scpat de sub control i nemulumii de
viaa lor. Ei se tem de a spune "NO "pentru c nu vreau s rnesc sentimentele cuiva, sau ei nu doresc s
fac cineva a fcut, sau ei doar nu cred c au dreptul de a spune ce vor face cu viaa lor i ceea ce ei nu vor .)

There are HEALTHY boundaries. (This is where the person says "YES" to the
things that make her feel GOOD about herself, and "NO" to the things that make her feel BAD about
herself - regardless if it makes others happy or not!)

iii. Exist limite sntoase. (Acest lucru este n cazul n care persoana spune "DA"
la lucrurile care fac sa se simta bine despre ea, i "NU" la lucrurile care fac sa se
simta rau despre ea - indiferent dac se face pe alii fericii sau nu)


Explore what the client feels her boundaries look like. Usually it will be a combination of overly Rigid
and overly Weak boundaries.
Ask the client to draw out what her boundaries look like right now.
2) Exploreaza ceea ce simte clientul limitele ei arata. De obicei, aceasta va fi o combinaie de limite
prea rigide i prea slabe.
3) cere clientului de a scoate ce limite sa arate ca acum.


Discuss the drawing and have her identify what each color/symbol means to her.
Have the client do a second drawing. This one will be what the client would like her boundaries to look

4) Discutai desenul i au o identifica ceea ce fiecare culoare / simbol nseamn pentru ei.
5) Au clientul face un al doilea desen. Acesta va fi ceea ce clientul ar dori graniele ei de a arata ca.

5) Discuss what it will take to get to this place and specific actions that the client can take to obtain
the confidence to establish these boundaries in her life.
Discutai ceea ce le va lua pentru a ajunge la acest loc i aciuni specifice pe care clientul poate lua
pentru a obine ncrederea de a stabili aceste limite n viaa ei.

Additional Procedure
1) When the client is ready, ask the client how the boundary-setting is going. Usually, there will be
struggles. At this point, have the client choose a color and draw out a circle, first, representing
herself, and then other circles that represent others in her life. Have her show in the drawing how
much she feels each one/thing is in her space
Procedura suplimentare
1) n cazul n care clientul este gata, cere clientului ct de limita-setarea se ntmpl. De
obicei, vor exista lupte. In acest moment, au clientul alege o culoare i scoate un cerc, n
primul rnd, ea reprezentnd, i apoi alte cercuri care reprezint alii n viaa ei. Au show-ul
n elaborarea ct de mult se simte fiecare / lucru este n spaiu ei.

2) Ask the client to make another drawing showing what it would look like if these things were no
longer in her space and she was able to have healthy boundaries with each of the areas indicated
in Step 1.
2) cere clientului de a face un alt desen care arat cum ar arta dac aceste lucruri nu mai
sunt n spaiu ei au fost i ea a fost n msur s aib limite sntoase cu fiecare dintre
domeniile indicate n Pasul 1.

3) Make sure to emphasize the possibility that through the use of healthy boundaries the client can
have her life look as complicated or simple as she wants. Discuss what this would take.
3) Asigurai-v c pentru a sublinia posibilitatea ca, prin utilizarea de limite sntoase
clientul poate avea viaa ei arata la fel de complicat sau de simplu ca ea vrea. Discutai
despre ceea ce ar lua.

Reflection/Processing Questions:

Tell me about your drawing. What do you notice when you look at it?
What is holding you back from creating the boundaries you want in your life?
What will it take to be able to set healthy boundaries?
How do you feel about practicing saying no with me? Lets practice.
How can you let go of wanting to please others or avoid their anger?


What areas of your life are within your control where you can use boundaries?
How was this process for you?

ntrebri de reflecie / prelucrare:

1) Spune-mi despre desen. Ce ai observat, atunci cnd te uii la ea?
2) Ce se va retine de la crearea limitele ce vrei in viata ta?
3) Ce va lua pentru a fi n msur s stabileasc limite sntoase?
4) Cum te simi n legtur cu practicarea spune "nu" cu mine? S practica.
5) Cum poi da drumul din dorina de a multumi pe altii sau de a evita furia lor?
6) Ce domenii din viata ta sunt sub controlul dvs. n cazul n care avei posibilitatea s utilizai
7) Cum a fost acest proces pentru tine?


People often struggle with the concept. It will be important to take it slowly and allow the person to
take it at her own pace. She may need to think about it before taking action on it. She will more than
likely want to come back to talk to you about how it went (i.e., saying no to abusive or intrusive
relationship, etc.) and could get discouraged with initial results. Keep using encouragements and focus on


Getting down the details of how this works is important. Letting the client know that she has the right to
say when/if someone touches her may be the focus. It may also be important to distinguish People
Pleasing and how to work on providing self with love rather than avoiding losing it from others. Each
person will have their own spin on how boundaries will look for him/her. It will be important to allow
the client to talk freely about how this process is going.
1) Oamenii de multe ori se lupta cu conceptul. Va fi important s se ia ncet i permite persoanei sl ia la ritmul ei. Ea ar putea avea nevoie s se gndeasc la asta nainte de a lua msuri pe ea. Ea va
mai mult dect probabil vrea s vin napoi s vorbesc cu tine despre cum a mers (de exemplu, a
spune "nu" la relatie abuziva sau intruzive, etc), i ar putea fi descurajat cu rezultatele iniiale.
Continuai s utilizai ncurajri i s se concentreze pe punctele forte.
2) Noiuni de baz n jos detaliile despre cum funcioneaz acest lucru este important. nchirierea
clientul tie c ea are dreptul de a spune, atunci cnd / dac cineva atinge de ea poate fi punctul
central. Acesta poate fi, de asemenea, important s se fac distincia "Oamenii Plcut", i cum s
lucreze pe furnizarea de sine cu iubirea, mai degrab dect a evita pierderea o de la alii. Fiecare
persoan va avea propria lor "de spin" pe cum va arata limitele pentru el / ea. Va fi important
pentru a permite clientului s vorbeasc liber despre modul n care acest proces se ntmpl.


It may be necessary to continue to reinforce this concept multiple times. Often, this can be such a
foreign concept to people that they only grasp bits and pieces of the full importance of how boundaries
work. Be prepared to go through the drawings multiple times. You may give the drawings to the client to
take home so that she can look at them and remind herself of what healthy boundaries look like.


People often think there is a wrong way and a right way to create boundaries. It will also be
important to emphasize to the client that each person is different and however she feels her boundaries
need to be is OK. She gets to determine when she wants to say no and when she is ready to say yes.
Being in touch with how she feels in any moment will also be important and many clients have
dissociated themselves from their feelings because of the pain associated with them. You may have to do
some work to help them get back in touch with how they feel (i.e., feelings versus emotions) so that
they can begin to see feelings as healthy and also important indicators to listen to.
3) Poate fi necesar s continue s consolideze acest concept de mai multe ori. De multe ori, acest
lucru poate fi un astfel de concept strin pentru oameni ca ei cuprinda numai bii i piese de
importana pe deplin de modul n care funcioneaz limite. Fii pregtii pentru a merge prin
vremurile desene multiple. Putei da desenele clientului pentru a lua acas, astfel nct ea poate uita
la ele i aminti se de ceea ce limite sntoase arata.
4) Oamenii de multe ori cred c exist un mod "greit", i un mod "corect" de a crea limite. Acesta
va fi, de asemenea, important s se sublinieze clientului c fiecare persoan este diferit i totui se
simte limitele ei trebuie s fie este OK. Ea devine pentru a determina, atunci cnd ea vrea s spun
"nu", iar atunci cnd ea este gata s spun "da". Fiind n legtur cu modul n care se simte n
orice moment va fi, de asemenea, clieni importani i muli s-au disociat de sentimentele lor, din
cauza durerii asociate cu acestea. Este posibil s avei de a face ceva de lucru pentru a le ajuta s
m ntorc n legtura cu modul n care se "simt" (de exemplu, sentimente fa de emotii), astfel
nct acestea s poat ncepe s vad sentimente ca indicatori sntoase i, de asemenea, importante
pentru a asculta.

The Recovery Book Recuperarea Cartea

An Art Therapy Directive
(This directive was originally created by Libby Schmanke, MS, LCAC, ATR-BC, in her work with elderly. An amazing art therapist, Libby designed the
directive so that each of the seasons reflected a different part of life.
It's a wonderful directive that is also very versitile!)
In a simple, straight-forward way, this directive has the client go through the steps
for recovery by using the symbolism of the four seasons.
ntr-un mod simplu, simplu de configurat, aceast directiv are clientul trece prin
etapele de recuperare prin utilizarea simbolismul cele patru anotimpuri.

Description: Using the four seasons the client creates a short, 8-page book that
outlines where she is in the recovery process and what she has to expect as she
recovers. It can also be designed as a reflection book on the process that the client
has been through to get to recovery from an addiction. This book can be as simple
or complex as you and the client would like to make it (depending on the needs of
the client).
Materials: Colored construction paper, cut-outs of white paper circles that have
images that represent the 4 seasons (having several options available to the client
to choose often has the effect of increasing the clients sense of control), markers or
colored pencils, glue, and ribbon (again, providing options helps the client feel more
First Get the materials ready by cutting out four pieces of the construction paper
and hole-punch the upper left-hand corner of each (to put the ribbon through,
connecting the book). Also print out and then cut in to circles images that represent
the four seasons.
Second Have your client choose what images she would like to use for all four
seasons (Spring, Summer, Fall, and Winter). Discuss during this time how each
season can symbolize the four stages of recovery (Spring = Sprouting or New
Beginnings, Summer = Blossoming/Growing,Fall = Harvesting, and Winter =
Celebrating. Note = you may want to type out each of these words so the client
can place them on the corresponding card as a reminder of what each season
represents in recovery).
Third Once the client has chosen the images and words representing each
season, have the client color her images, choosing colors that represent for her the
experience of both the season and the time of recovery.
Fourth When the client is done coloring, have the client glue the image on to one
side of the page, and a blank piece of paper on the flip side of the paper.
Fifth Have the client write down what that season meant to her in her recovery in
the blank piece of paper, once the glue has dried.
Sixth Now, the client can choose a color of ribbon to tie the book together.
Encourage the client to share what she has created.
Descriere: Folosind cele patru anotimpuri ale clientului creeaz o scurt, carte de 8 pagini, care
prezint cazul n care ea este n procesul de recuperare i ceea ce are s se atepte ca ea revine.
Acesta poate fi, de asemenea, conceput ca o carte de reflecie cu privire la procesul pe care clientul
a fost prin a ajunge la recuperarea de la o dependenta. Aceast carte poate fi la fel de simplu sau
complex ca tine si clientul ar dori s-l fac (n funcie de nevoile clientului).
Materiale: colorata hrtie de construcie, decupaje de cercuri de hrtie albe care au imagini care

reprezint cele 4 anotimpuri (avnd mai multe opiuni disponibile pentru client de a alege de multe
ori are ca efect creterea sens al clientului de control), markere sau creioane colorate, lipici , i
panglic (din nou, furnizarea de optiuni ajut clientul se simt mai creativi / liber).
n primul rnd - Ia materialele gata de tiere din patru buci de hrtie de construcie i de
perforare n colul din stnga-sus al fiecrui (pentru a pune panglica prin, conectarea carte). De
asemenea, imprima i apoi se taie n cercurile de imagini care reprezint cele patru anotimpuri.
n al doilea rnd - Au clientul tau alege ce imagini ar vrea s foloseasc pentru toate cele patru
anotimpuri (primvara, vara, toamna, iarna i). Discutai n acest timp ct fiecare sezon pot
simboliza cele patru etape de recuperare (de primvar = "ncolit" sau "noi nceputuri", Summer
= "Blossoming / Growing", Fall = de recoltare, i de iarn = "Srbtorirea". Not = poate dorii
pentru a introduce n fiecare dintre aceste cuvinte, astfel nct clientul le poate plasa pe card
corespunztor ca o amintire a ceea ce fiecare sezon reprezint n recuperare).
n al treilea rnd - Odat ce clientul a ales imaginile i cuvintele care reprezint fiecare sezon, au
culoarea client imaginile ei, alegerea culorilor care reprezint pentru ei experiena att de sezon i
timpul de recuperare.
n al patrulea rnd - n cazul n care clientul se face colorat, au clientul lipici imaginea de pe o parte
a paginii, i o bucat de hrtie goal pe de alta parte a hrtiei.
n al cincilea rnd - Au clientului scrie ce acel sezon a nsemnat pentru ei n recuperarea ei n buc i
de hrtie alb, odat ce lipiciul sa uscat.
A asea - Acum, clientul poate alege o culoare de panglic pentru a lega cartea mpreun.
ncurajarea clientului de a mprti ceea ce ea a creat.

Follow-up Questions:
1) Tell me about your Recovery Book. What did you put in it?
2) What season do you feel like you are in with your recovery?
3) Even though you may not have reached the season you want to be in with your
recovery, can you imagine what it will be like when you get there?

4) What do you feel it will take to recover?

5) How was this experience for you?
Alternative Procedure: You can also have client (or the client may request to)
create a Recovery Book by using blank circles where she can draw images in
herself. This allows more freedom and less structure. It may be important to begin
with structure and then later work towards more freedom. Each client will be
different at different times, so it will be important to gage the needs of the client at
the time of doing the directive.
Follow-up ntrebri:
1) Spune-mi despre cartea ta de recuperare. Ce-ai pus n ea?
2) Ce anotimp te simti ca esti in cu recuperarea ta?
3) Chiar dac nu ar fi ajuns la sezonul dorii s fie n cu recuperare, v putei imagina ce se va fi ca
atunci cnd vei ajunge acolo?
4) Care credei c va fi nevoie de a recupera?
5) Cum a fost aceast experien pentru tine?
Procedura Alternativ: Putei avea, de asemenea, client (sau clientul poate solicita) a crea o carte de
recuperare prin utilizarea cercuri goale n care ea poate desena imaginile n sine. Acest lucru
permite mai mult libertate i mai puin structura. Acesta poate fi important s ncepem cu
structura i apoi de lucru mai trziu spre mai mult libertate. Fiecare client va fi diferit la momente
diferite, asa ca va fi important s se Gage nevoile clientului la momentul de a face directivei.

Outcome: This exercise is designed to have your client get more in touch with 1)
How far she has come, 2) What she has to look forward to in her recovery, and 3)
Puts a positive spin on her recovery. It can also help to facilitate a great deal of
discussion regarding recovery goals, struggles, realistic expectations, and what it
will take to be successful in reaching the goals.
Rezultat: Acest exerciiu este conceput pentru a avea clientul de a obine mai mult n contact cu 1)
Ct de departe ea a venit, 2) Ceea ce trebuie s atept cu nerbdare s n recuperarea ei, i 3) Pune
un spin pozitiv cu privire la recuperarea ei. Acesta poate ajuta, de asemenea, pentru a facilita o
mare parte din discuii cu privire la obiectivele de recuperare, lupte, asteptari realiste, i ce se va
lua pentru a fi de succes n atingerea obiectivelor.

Inspiration Bags

Pungi Inspiraie

An Art Therapy Directive

Description: Often clients may need to have something to do at home, or during

the times they are not in the art therapy office. This directive allows the client to

have a resource readily available to her so that when she is feeling stressed,
anxious, or just wants to relax she can pick up this bag, look inside and get inspired
to be creative.
Materials: A small paper bag with handles, various arts and crafts items such as
crayons, pipe-cleaners, glue, decorative paper, white paper, and many quotes that
are cut out individually and randomly placed in the bag.
First Explain the purpose of the Inspiration Bag to the client. She is to choose a
quote that speaks to her, either randomly or purposely choosing one. After this she
is to create an art piece that is an expression of what that inspirational piece means
to her. (Note: Make sure to explain that the bag is not to be opened until the client
is ready to do something creative and have fun. This will set the client up to see it
as a positive and possibly intriguing directive to explore, allowing her to feel more
free from expectations and to also begin to explore choice and the freedom to
Second Let the client know that although there are structured directives (typed
out with instructions on a piece of paper) she does not have to create something
based on these directives. She can create an unstructured piece of art if she wants,
depending on how she is feeling. This is an opportunity to explain the difference.
However, it is not necessary so long as you emphasize to the client that she can
follow her own intuition.
Descriere: De multe ori clientii ar putea avea nevoie pentru a avea ceva de-a face la domiciliu, sau
n perioadele n care nu sunt la birou art-terapie. Aceast directiv permite clientului s aib o
resurs la ndemn pentru ei, astfel nct, atunci cnd ea se simte stresat, anxietate, sau vrea doar
s se relaxeze ea poate ridica acest sac, uita-te n interiorul i inspirai de a fi creativ.
Materiale: O pung de hrtie mic cu mnere, diverse arte i meserii elemente, cum ar fi creioane,
conducte si curatatorii lipici, hrtie decorative, hrtie alb, i multe citate care sunt decupate
individual i aleatoriu plasate n pung.
n primul rnd - Explicai scopul Bag surs de inspiraie pentru client. Ea este de a alege un citat
care vorbete cu ea, fie alegnd la ntmplare sau intenionat una. Dup aceasta ea este de a crea o
pies de art care este o expresie a ceea ce inseamna ca pies de inspiratie pentru ei. (Not:.
Asigurai-v c pentru a explica faptul c punga nu este de a fi deschis pn clientul este gata s
fac ceva creativ i s se distreze Acest lucru va seta clientul pn s-l vd ca o directiv pozitiv i,
eventual, interesant de a explora, permindu-i s se simt mai liber de ateptri i pentru a ncepe,
de asemenea, s exploreze "alegere" i libertatea de a alege.)
n al doilea rnd - S clientul tie c, dei exist directive structurate (tastate cu instruciuni privind
o bucat de hrtie), ea nu are de a crea ceva pe baza acestor directive. Ea poate crea o pies
nestructurat de art, dac vrea, n funcie de modul n care ea se simte. Aceasta este o oportunitate

de a explica diferena. Cu toate acestea, nu este necesar att timp ct va sublinia clientului c poate
urma ei intuiie.

Third After the client takes the Inspiration Bag home and works on it, ask the
client to bring in what she created to show you and share about what was created.

Fourth Discuss what was created by the client at home from the bag. You can talk
about the inspirational quote that was picked. What did it mean to her? What was
the art piece that was created?

Fifth Once she has shared about the directive, you can ascertain if she needs to
do a reparative second piece, which will redirect her to a more positive and
empowered view point. (Use your discretion with this.)

Sixth Give positive affirmations for the work created and continue to focus with
the client on the process rather than the end product. Determine whether the client
needs more guidance or is able to self-direct with minimal feedback. Determine
continual art therapy directives based on these outcome.
n al treilea rnd - Dup ce clientul ia geanta Inspiraie acas i funcioneaz pe el, cere clientului
s aduc n ceea ce ea a creat pentru a v arta i mprti despre ceea ce a fost creat.
n al patrulea rnd - Discutai despre ceea ce a fost creat de ctre client la domiciliu din punga.
Putei vorbi despre citatul de inspiratie care a fost ales. Ce a nsemnat pentru ea? Care a fost piesa
de arta care a fost creat?
n al cincilea rnd - Dup ce ea a vorbit despre directiva, putei stabili dac ea trebuie s fac un al
doilea bucat reparatorie, care o va redireciona la un punct de vedere mai pozitiv i mputernicit.
(Foloseste-ti discretia cu acest lucru.)
A asea - D-afirmatii pozitive pentru munca creat i continu s se concentreze cu clientul cu
privire la procesul, mai degrab dect produsul final. Determinai dac clientul are nevoie de mai

mult de orientare sau este capabil sa auto-direct cu feedback-ul minim. Determinai directive artterapie continu, bazate pe aceste rezultate.

Follow-up Questions:

Tell me about the art piece you created. How did it go?

2) What inspirational piece did you choose?

3) Did you work on a structured or unstructured approach? How did that go?
4) What was your favorite part of the directive/artwork?
5) How did you feel after completing the art piece/directive?
Follow-up ntrebri:
1) Spune-mi despre piesa de arta te-a creat. Cum a mers?
2) Ce pies de inspiratie ai ales?
3) Ai lucrat pe o abordare structurat sau nestructurat? Cum a mers?
4) Care a fost partea ta preferata din Directiva / opera de arta?
5) Cum te-ai simi dup finalizarea piesa de arta / directivei?

Before and After

An Art Therapy Directive

Goal of Activity:
To increase clients awareness of self-care during the healing process, and increase
client's motivation to follow through with self-care behaviors.
Age Level:
All ages.
Obiectiv de activitate:
Pentru a crete gradul de contientizare client de auto-ingrijire in timpul procesului de vindecare, i
de a crete motivaia clientului s urmeze cu comportamente de auto-ingrijire.
Nivelul de vrst:
Toate vrstele.

Suggested Time Allowance:

20-25 minutes for task, 15-20 minutes for processing and feedback.
To increase clients self-awareness.

To encourage self-acknowledgment for accomplishment of rehabilitation.

To have clients experience increased self-esteem.

Construction paper, magazines (National Geographic are my favorite, but you can
find images in just about any magazine) or precut pictures, glue, scissors, and markers or
Sugestii Ora Reduceri:
20-25 de minute de activitate, de 15-20 de minute pentru prelucrare i feedback-ul.
Pentru a crete contiina de sine a clientului.
Pentru a ncuraja auto-confirmare pentru realizarea de reabilitare.
Pentru a avea clienti experimenta crescut stima de sine.
Hrtie de construcie, reviste (National Geographic sunt preferatele mele, dar putei gsi imagini n
doar despre orice revist) sau pre tiate imagini, lipici, foarfece, i markere sau pixuri.


Have clients choose a piece of construction paper.

Explain that the first collage will be How well you took care of
yourself when stressed out or in crisis.

1) avem clienti alege o bucat de hrtie de construcie.

2) Explicai c prima colajul va fi "Ct de bine te-ai ocupat de tine, atunci cnd stresat
sau n criz."


Have them cut out pictures from magazines and paste them on to the construction paper. It
can be pictures or words/sentences/quotes.


After approximately ten minutes, have them flip the collage over and tell them, Now, this
collage will represent how you can take care of yourself when in crisis.

3) Cerei-le decupa poze din reviste i lipii-le pe hrtie de construcie. Acesta poate fi imagini sau cuvinte /
fraze / citate.
4) Dup aproximativ zece minute, s-au le-flip colajul peste i spune-le: "Acum, acest colaj va
reprezenta modul n care putei avea grij de tine cnd n criz."

Process Questions:
1) What are the differences between both collages?
2) Which side do you feel more self-esteem?
3) What can you do that will help you feel more self-esteem more often?

ntrebri proces:
1) Care sunt diferenele dintre cele dou colaje?
2) Care parte te simi mai stima de sine?
3) Ce se poate face, care va ajuta sa te simti mai mult stima de sine mai des?

Self-Portrait Contour Drawings Self-Portrait contur


This Intervention Plan was inspired by Elizabeth Layton, "Grandmother of the U.S.", and Bob Ault, ATRBC. Elizabeth Layton cured herself of a 40 year clinical depression by doing self-portrait contour
drawings with her non-dominant hand coupled with very emotional and personal content.
Acest plan de intervenie a fost inspirat de Elizabeth Layton, "Bunica a SUA", i Bob Ault,
ATR-BC. Elizabeth Layton se vindecat de o depresie clinica 40 ani de a face auto-portret
desene contur cu mna non-dominant cuplat cu coninut foarte emoional i personal.

12 x 18 (approximately) sheets of white stock paper (one per participant, per sitting)
# 2 lead pencils
Colored Pencils
12 x 12 mirror tile with cardboard backing to help prop up (edges taped for safety)
Nearly any population:

Physically Ill
Trauma and abuse

Younger populations

Number of Sessions: Can be done in 1 session, or two.

Part I Drawing the actual portrait, can take anywhere from 30 minutes to one hour to complete.
The more someone is self-conscious or self-critical, the longer this process can take. Be patient with the

person drawing the picture and let him take as long as he needs. Give unconditional support and
encouragement where needed.
12 x 18 (aproximativ) de coli de hrtie stoc alb (unul pentru fiecare participant, pe edin)
# 2 creioane de plumb
Creioane colorate
Placi de 12 x 12 oglind cu suport de carton pentru a ajuta sprijini (margini inregistrat pentru
Aproape orice populaie:
Familiile fizic Ill
Copii Persoanele populaiilor tineri
Adolescenii Trauma i abuz Vrstnici
Numrul de Sesiuni: Se poate face n 1 sesiune, sau dou.
Partea I - Desen portretul real, poate dura de la 30 minute la o or pentru a finaliza.Mai mult
cineva este contient de sine sau de auto-critic, mai mult, acest proces poate dura. Fii rbdtori cu
persoana desen imaginea i s ia atta timp ct are nevoie. Ofer suport necondiionat i ncurajare
acolo unde este nevoie.

Part II Drawing the images around the self-portrait, usually goes faster for the artist than Part I.
This process takes about 30 minutes to complete. Often the artist will want to write words instead of
images. Encourage him to draw the images that go along with these words. The power of the images can
be more significant than the words themselves. They can put in to form what words cannot describe.
Partea a II-a - Desen imaginile din jurul auto-portret, de obicei, merge mai repede pentru
artist dect Partea I. Acest proces dureaz aproximativ 30 de minute pentru a finaliza. De multe ori
artistul va dori s scrie cuvinte n loc de imagini. ncurajai-l s trag imaginile care merg
impreuna cu aceste cuvinte. Puterea a imaginilor poate fi mai important dect cuvintele n sine. Ele
pot pune n, pentru a forma ceea ce cuvintele nu pot descrie.

Part III Coloring the whole picture can take anywhere from 30 minutes to an hour to complete.
This process seems to be soothing for the drawer, so encourage him to take as much time as he would
Partea a III-a - colorat imaginea de ansamblu poate dura de la 30 minute la o or pentru a finaliza.
Acest proces pare a fi linititor pentru sertar, deci incurajeaza-l sa ia cat mai mult timp ca el ar

Part IV The drawer can become very reflective during the sharing part of the drawing. Allow
him to have a few minutes to reflect and then share as little or as much as he would like. Always end with
an acknowledgment of how well he did in the whole process.
Partea a IV - sertar poate deveni foarte reflectorizant n timpul prii de partajare a desenului.
Permitei-i s aib cteva minute pentru a reflecta i apoi s mprteasc ct mai puin sau ct de
mult i-ar dori. Se ncheie ntotdeauna cu o confirmare de ct de bine a fcut n ntregul proces.

Creating self-portrait drawings in this way helps to process and then release emotion and stress/anxiety
related to a particular memory or experience. The more detailed these drawings become, the more
processing and release occurs.
Crearea desenelor de auto-portret n acest fel ajut la procesarea i apoi eliberai emoie i de stres /
anxietate cu privire la un anumit memorie sau experien. Mai detaliat aceste desene deveni, mai
prelucrarea i eliberarea apare.


Part I:

1. Participant(s) will learn to follow instructions to make the self-portrait contour drawings.
2. Participant(s) will learn to create their own visual representations of problems. These metaphors act as
a conduit for release and the problems then have less emotion tied to the issues.
3. Participant(s) will also be able to create words that will express their emotional state(s) associated with
the objects, facilitating further processing and release of negative emotion.
Prop up the mirror to the side of the person who will be drawing. Put the paper directly in front of the
drawer. Give instructions on how contour drawing works. Have the drawer switch to using their nondominant hand for this part of the procedure. Using a # 2 pencil, draw from the top of the head all the way
down to mid top-arm (a bust). Ask them to go slowly, take their time. Explain about the inner-critic and
how for this process we ask the drawer to put it away or let it go. Also, ask the drawer to think of a
stressful issue or anxiety-provoking thought while drawing self. Point out the lines that are on the face
(this may be necessary only at first.)

Abordare / Abiliti:
1 participant (i) vor nva s urmai instruciunile pentru a face desene de contur de auto-portret.
2 Participant (e) vor nva s creeze propriile reprezentri vizuale de probleme. Aceste metafore
acioneze ca un canal de eliberare i de problemele apoi au mai puin emoie legat de problemele.
3 participant (e) va fi, de asemenea, posibilitatea de a crea cuvinte care vor exprima starea lor
emotionala (e) asociate cu obiectele, facilitnd procesarea i eliberarea de emotii negative mai
Partea I: proptesc oglinda la partea persoanei care va fi de desen. Punei hrtia direct n faa
sertar. Ofer instruciuni cu privire la modul n care funcioneaz desen contur. Au comutatorul
sertar pentru utilizarea mna lor non-dominant pentru aceast parte a procedurii. Folosind un
creion # 2, trage de la partea de sus a capului tot drumul pn la top-bra la mijlocul (un bust).
Cerei-le s mearg ncet, s ia timpul lor. Explicai despre "interior-critic" i modul n care pentru
acest proces cerem sertar pentru a pune departe sau lsai-l s mearg. De asemenea, cere sertarul
s se gndeasc la o problem de stres sau de gndit anxietate n timp ce desen de sine. Punctul
liniile care sunt pe fata (acest lucru poate fi necesar doar la nceput.)

Part II: After the self-portrait is completed, put the mirror away and ask the drawer to switch back to using his or
her dominant hand to finish the picture. Ask the drawer to now draw images or objects (can be some
words or phrases) surrounding the self-portrait that convey to the viewer what the drawer was thinking
about while drawing the portrait.
Partea a II-a: Dup auto-portret este finalizat, pune oglinda departe i cere sertarul pentru a reveni la
utilizarea mna lui sau a ei dominant pentru a termina imaginea. Adresai-v sertarul de a atrage
acum imagini sau obiecte (pot fi unele cuvinte sau expresii) care nconjoar auto-portret, care
transmite privitorului ceea ce sertar gndeam n timp ce desen portretul.

Part III: Have the drawer put down the #2 pencil down. Switch to coloring with the colored pencils. Ask the
drawer to color in every part of the drawing, including the background, etc.
Partea III: Au sertarul pus jos creionul # 2 n jos. Trecei la colorarea cu creioane colorate.
Adresai-v sertarul de culoare n fiecare parte din desen, inclusiv fundalul, etc

Part IV: When finished with the entire drawing, have the artist write a statement describing how the process was
for him and/or how he feels after completing the drawing. Invite the drawer to share with you (and the
group when done in group setting) about his experience by using words.
Partea a IV-a: Dup ce ai terminat cu ntregul desen, au artistul scrie o declaraie care descrie
modul n care procesul a fost pentru el i / sau cum se simte dup finalizarea desen. Invit sertarul
de a mprti cu tine (si grupul cnd face n cadru de grup), despre experiena sa, prin utilizarea
de cuvinte.
(Note: The use of drawing with both hands, and sharing verbally will be vitally important in maximizing
the positive impact of the process.)
Expressive Outcome Possibilities:

1) Participant(s) will be able to be creative and expressive.

2) Participant(s) will be able to explore and experience art-making free from judgment.
3) Participant(s) will be able to become more aware of themselves/their feelings/emotions.
4) Participant(s) will be able to become aware of and then explore their wants and needs.
5) Participant(s) will be able to release negative emotion surrounding memories, traumatic experiences,
and/or current stressors/anxieties.
Self-portrait contour drawing, self-image, self-awareness, creativity/expression, metaphor, insight, etc.
General Limitations:
1) Getting the mirrors to prop up so that they do not fall down can be a challenge.
2) The drawer must have fine-motor skills in order to control the pencil(s) for drawing.
3) Concept of self-awareness and self-image may be hard to grasp for some populations. However, it is not
necessary for the drawer to understand these concepts in order for him/her to get value out of the
4) Some people may not have the patience to sit down in one sitting to complete the full drawing. For
adults the average time it takes to complete the drawings is an hour and a half. Processing time may take
up to an hour or more.
(Not: Utilizarea de desen cu ambele mini, i schimbul verbal va fi extrem de important n maximizarea
impactului pozitiv al procesului.)
Posibiliti Rezultat expresive:
1) Participant (s) va fi capabil de a fi creativ i expresiv.
2) Participant (s) va fi capabil de a explora i de experien de art face fr de judecat.
3) Participant (s) va fi n msur s devin mai contieni de ei nii / sentimentele / emoiile.
4) Participant (s) va fi n msur s ia la cunotin i apoi explora dorinele i nevoile lor.
5) Participant (s) va fi n msur s elibereze emotie nconjurtor amintiri negative, experiente traumatice,
i / sau factorii de stres curente / neliniti.
Autoportret desen contur, imaginea de sine, contiina de sine, creativitatea / expresie, metafor,
nelegere, etc
General Limitri:
1) Obinerea oglinzile pentru a sprijini astfel nct acestea nu se ncadreaz n jos poate fi o provocare.
2) Sertarul trebuie s aib abiliti de fin-motorii, n scopul de a controla creionul (e) pentru desen.
3) Conceptul de contiina de sine i "imagine de sine" poate fi greu de neles pentru unele populatii. Cu
toate acestea, nu este necesar pentru sertarul de a nelege aceste concepte n ordine pentru el / ea pentru a
obine valoarea de experien.
4) Unii oameni nu pot avea rbdare s se aeze ntr-o edin pentru a finaliza desenul complet. Pentru
aduli timpul mediu necesar pentru a finaliza desene este de o or i jumtate. Timpul de procesare poate
dura pn la o or sau mai mult.

1) With very young children (1 to 5 years of age), this activity could require more coordination than they
currently exhibit.
2) Some populations may need more encouragement to participate in this activity than others
(especially if they are high functioning want to look good).
3) Children with hyperactivity may not enjoy this activity and could get distracted easily if not
fully engaged at each moment.
4) Some people may respond with anger or tears because of the emotional content the symbols
can bring up; be prepared for this and have the necessary supports available for the drawer(s).
Adaptation(s) to be used with Different Populations:
1) With young children, think of doing smaller groups or one-on-one sessionsin order to help them with
the details of this type of project.
2) For those populations with cerebral palsy (or any other muscular or neurological dysfunction); consider
having a partner who can act as their hands.
3) You can make the issues as big or small determinate on what the client is prepared to share and/or deal
1) Cu copiii foarte mici (1-5 ani), aceast activitate ar putea necesita mai mult de coordonare se
prezint n prezent.
2) Unele populaii pot avea nevoie de mai mult ncurajare de a participa la aceast activitate dect
altele (mai ales n cazul n care acestea sunt ridicate de funcionare - cautare pentru a "arata
3) Copiii cu hiperactivitate nu se pot bucura de aceast activitate i ar putea fi distras cu uurin
n cazul n care nu sunt pe deplin angajate n fiecare clip.
4) Unele persoane pot raspunde cu furie sau lacrimi din cauza coninutului emoional simbolurile
pot aduce; s fie pregtit pentru acest lucru i au suporturile necesare disponibile pentru sertar (e).
Adaptarea (e) pentru a fi utilizat cu diferite populaii:
1) Cu copii mici, cred c a face grupuri mai mici sau pentru unu-la-unul sessionsin pentru a le ajuta
cu detalii de acest tip de proiect.
2) Pentru acele populaii cu paralizie cerebral (sau orice alt disfuncie muscular sau
neurologice); ia n considerare avnd un partener care poate aciona ca minile lor.

3) Putei face probleme ca determinat mari sau mici pe care clientul este pregtit s mprteasc
i / sau a face cu.

Group Processing Questions:

1) What is a self-image?
2) What is a problem you are dealing with right now that bothers you?
3) Why do you think turning off the inner critic can be so important?
4) What are some ways you can turn off that inner critic?
5) What does your inner critic say about you?
6) Do you like your self-image or would you want to change it?
7) What would you change your self-image to, if you could change it?
ntrebri de prelucrare Grupa:
1) Ce este un "imagine de sine"?
2) Ce este o problem de-a face cu chiar acum c te deranjeaz?
3) De ce crezi c oprirea criticul interior poate fi att de important?
4) Care sunt cteva moduri n care putei dezactiva asta critic interioar?
5) Ce criticul vostru interior spune despre tine?
6) Iti place imaginea de sine sau ai vrea s-l schimbe?
7) Ce ai schimba imaginea de sine a, dac ai putea schimba?

(This mural is located at The Legends shopping mall in Kansas. Elizabeth "Grandma" Layton is
considered a State Treasure, and a blessing to all of those who struggle with self-image/depression/etc.)

Sunday, July 1, 2012

Intuitive Freedom Cards

Intuitive Freedom Cards

A Variation on Soul Collage Cards

This process developed after doing supervision with Libby Schmanke, ATR-BC. She is a Soul Collage
facilitator in Lawrence, Kansas, as well as my mentor and supervisor. After doing one of her Soul Collage
Card trainings, I realized that something was missing for me. I wanted to also access words, as well as
images. So, I developed my own process. This blog entry will describe a bit about the creator of the Soul
Collage Card process, as well as the modification of using words for this art therapy directive. It is my
belief that using images accesses the right side of the brain, while words access the left, thus creating
more stimulation in the entire brain. This causes more processing and thus more healing.

The History of Soul Collage

Seena B. Frost created the Soul Collage Cards idea.

For this process, only Trained Facilitators can guide others in this process.

She described why these cards were so powerful by saying that images come straight through the
Soul, bypassing the mind.

These are a few YouTube videos of the Soul Collage author and the process:

Development of Intuitive Freedom Cards

These cards are structurally the same on the collage side.

On the back side of the card, it is given a title and theme, then signed and dated.

The cards are also made by allowing the issue currently being struggled with to come out naturally
in the collage, then explored further on the back of the card.


Mat Board cut down in to 4 x 6 Mat Cards

Glue Sticks
Magazines to cut out images


Begin by looking through magazines you are drawn to.

Cut out images that speak to you.

Arrange those images in a 4 x 6 space and then glue them on to the card when you are ready to
place the images how you want them.

On the Back, Give the Card a


Under that, write down I Am One Who (and finish it with whatever comes to mind for you).

Fill the rest of the back of the card with a description of issue expressed in the collage (on the front
side of the card).

Creating the Card

Either choose an issue to create a card about

Or, create the card and then see how it fits in to the issues you have currently going on in your life.
Cathartic Action Whoosh
Containment Safe


Work on turning off the inner critic.

Start the card only when you feel ready.
Relax and allow it to come.
Have fun with this process, rather than make it happen.
Let it flow out of you without filter.

How to Make a Collage


115 Editors

Edited 11 weeks ago

Seven Methods:Paper collageDigital CollageFabric collageSand collageNature collageElectronic

collageDisplaying collages
A collage is a work of art composed of numerous materials, such as paper, newsprint, photographs,
ribbons or other objects attached to background support, such as plain paper. A collage can even be made
with physical materials or electronic images, attaching them to a digital background. Originating from the
French word "coller", meaning "to glue", the collage allows you to experiment with a wide range of
materials to achieve amazing end results. This article provides a sample of the many possibilities limited
only by your creativity and imagination.

1. 1
Choose a style of collage. By definition, a collage should be made up of several different pieces.
Those pieces can be made of all sorts of items, such as paper, yarn, fabric, stamps, magazine cutouts, plastic, raffia, foil, labels, lids, matchsticks, corks, natural items (bark, leaves, seeds,
eggshells, seashells, twigs, etc.), buttons, and so forth. You can either choose one medium such as
paper or fabric, or you can make an eclectic mix, such as paper, buttons and foil.
2. 2
Choose a suitable backing. While a paper or cardboard backing is the usual choice, the backing
can be anything you consider will work well. For example, a backing could be blotting paper, card

stock, fabric such as a piece of hessian (burlap), newspaper, old book covers, wood, smooth bark,
plastic, etc. If the surface is usable and items can be stuck to it, you can probably use it for making
a collage.
3. 3
Hoard the materials for future collages. As you become more proficient at and enthused about
making collages, you'll probably start seeing opportunities in all sorts of materials. Be sure to keep
a special collage materials box for collecting the pieces in.
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Method 1 of 7: Paper collage

Collect the materials needed for making a paper collage. Here are some possible materials:
o Use construction paper, copy paper, paper bags, tissue paper, marbled paper, handmade
paper, etc. The paper can be either soft or hard, or a mixture of both.
o Use cut-outs from magazines or newsprint. Fashion and news magazines can feature
several collage-worthy images. Newsprint can add a fun texture to a collage, as well; just
be aware that dyes may run sometimes.
o Find old scraps of wallpaper. You might have some leftover in a closet, or you can buy
small sample swatches from a wallpaper store.
o Make use of different foils or tapes. Use the aluminum foil from the kitchen, or color
masking or duct tape.
o Use photographs. Cutting images from old photographs can lend your collage a retro feel.
Just make sure you're not cutting up the only copy you have of a photo that you might need

Fold, cut or tear the paper into different shapes. You can use scissors or a craft knife to make
different shapes. Alternatively, you can make rough tears on the ends of the paper pieces for more
texture or a less controlled look.
o Cut out a whole picture, an identifiable part, or just enough to evoke texture, color or
o To make a word, cut out letters from different sources and fonts.

Develop a theme. You might have been assigned a theme, or maybe you came up with one as you
collected materials. Either way, build your collage around a central idea or image.

Consider adding embellishments. While not essential, embellishments can take the collage up a
notch by adding depth, interest and sparkle. Use ribbons, beads, string, feathers or fabric in the
paper collage. Find these items around the house, or purchase them at a craft store.

Figure out what you're going to glue the collage onto. You can use a a piece of paper, a large
piece of card stock or part of a cardboard box, for instance. Whatever you choose, make sure it's
strong enough to handle several more layers of weight and that it will be easy to display.

Assemble the pieces before you glue them. Although optional, it's recommended that you try
Once you have everything you want to put on your collage, spread it to design the collage before
proceeding. Lay it out on a large surface like a table or floor. Build the items in layers, starting
with the background and moving forward. This should give you a good idea of what your end
product will look like before you commit to any gluing. If you want to remember it exactly, take a
picture of your test run. Ideas for collage designs include:
o A landscape or a seascape
o A fractal
o A person's image, such as a pop star or someone who wears highly identifiable clothes or
head wear, such as a tiara
o Newspaper people - use the time-old tradition to make newspaper people and then design
them into the collage
o Animals; for example, use small paper pieces or stamps to form a shape of an animal such
as a cat, crocodile or bee. Draw the shape on the paper first and fill in the space by gluing
the paper pieces inside the lines
o A mosaic or an eclectic jumble; the mosaic can follow a shape or it can simply be a pattern
or a jumble
o The alphabet; cut letters out of the paper and either make the alphabet or words on the
o Patterns using only a single shape, such as circles, squares, etc.; repeated patterns are also
very effective as a collage.

Glue the collage. Starting with the background and working forward, glue the pieces of the
collage onto the base. Use regular white glue, a glue stick or rubber cement, and work with
o Try to arrange the collage around one central piece that you think is striking or interesting.
o Remember that not every piece has to be glued flat. Try crumpling or folding to achieve a
different texture.

Let the collage dry. Given that the collage might contain several layers of glue, allow it ample
time to dry.
o For a small collage, an hour or so should be sufficient.
o For a larger piece, you might want to let it sit overnight or use a very low air blowing fan.

Method 3 of 7: Fabric collage

Collect the pieces of fabric you're going to use for making the collage. Look in your own
fabric supplies, in your wardrobe for unwanted clothing, in thrift stores and in craft stores for great
sources of fabric. Some examples include:
o Leftover scraps from sewing projects
o Cut-outs of fabric designs that you love
o Cut-outs from beloved pieces of clothing that are past their wearing date (great for
memory sakes of children's clothing)
o Quilt fabrics/fat quarters
o Special fabrics like tulle, organdy, silk, satin, etc.
o Thread, wool, yarn, string, ribbons, lace, netting, etc.
o Sewing embellishments such as buttons, sequins, sew-on patches, etc.


Check the textures. Fabrics tend to come in a range of textures and thicknesses, meaning that
you'll need to incorporate these differences to best effect in the collage.

Select a suitable background. There are some suggestions for backgrounds outlined above but
always bear in mind that fabric may stick differently from paper, so not all options will be useful.
Do a test glue on the background you'd like to use before proceeding, to make sure that the fabric
will stay in place. Some ideas for backgrounds include: other fabric, an unwanted wall-hanging,
an item of unwanted clothing, paper or cardboard, an object such as an old stuffed toy needing a
facelift or a lampshade, etc.
o Use clear drying glue that is suitable for both fabric and the backing you're using.
4. 4
Create the design on paper by drawing it into place. For design ideas, see the suggestions
outlined in the method above for making a paper collage. Once you have a design in mind, match
the appropriately textured and colored fabric pieces accordingly.

Cut and arrange the fabric materials following your design. It's fine to stick one piece on top
of another, so be bold.
o Keep the textures in mind when creating impressions of items, animals or faces. For
example, use wool or fluffed up fabric to create a sheep's body or use yarn to create hair
around a face.

o Wool, thread or yarn can be wound around in spirals to create flowers, a sun or moon,
faces, etc.
o Buttons and sequins are great for all sorts of image creation, such as making flowers, eyes
on a face or animal shapes.

Allow to dry. Place on display.

Method 4 of 7: Sand collage

Sand makes for an excellent collage material and is a good collage choice for young children.

Assemble the materials needed. These are simply - a paper or card stock background base, cleardrying craft glue, sand, a pencil and a glue brush.
2. 2
Draw the design you'd like onto paper. Simpler designs are best for small children; let them
draw whatever they like.

Follow the lines or insides of the drawn lines with glue, using the glue brush. If the design is
intricate or large, do this in small steps, to allow you to work with the glue while it's still wet.

Sprinkle the sand over the glue. This can be done using your hand or a small paper cup.

When done, tip the excess sand off. The remaining sand will outline the design.

Method 5 of 7: Nature collage

Find suitable items out in nature. This collage is a good one after you've been hiking or walking
in natural areas and you've collected things you found along the way. Suitable items include:
o Seashells, broken and whole; carapaces of insects
o Flowers (these can be pressed and then used)
o Dried grasses
o Leaves
o Seeds and nuts,
o coconut shell '
o straw,
o and others,etc...

Make sure that the items are dry before using them. If not, they may rot or go mildewy on the

Choose a suitable background. Paper, smooth bark, card stock, recycled cardboard, etc. are all
good choices for the background.

Design the collage. Perhaps you'd like to make a nature scene, such as arranging dried flowers as
they'd appear in nature, or a clump of dried grasses. Or, maybe make a landscape or seascape
using the items.

Glue the items in place. Use clear-drying craft glue. Double check that the items are actually
sticking to the background.

o If you want to preserve plant material used in a collage, make a "glaze". Dilute PVA glue
with a little water. Brush this over the whole of the paper; this glazes the paper. Arrange
the plant material on the glazed paper. Brush over all of the plant material with the same
glaze. You must cover every possible bit of the plant material. Once fully dried, the glaze
will protect the plant material for years and the effect will leave the collage shiny. Note
that this can damage more delicate plant material, so be careful.

Allow to dry. Place the collage on display or take photos of it and share online.

Things You'll Need

Glue or paste

Scissors or a craft knife

A base, such as a piece of stiff paper or card stock

Images and words/letters

Photo editing software (optional)

A bin to put the extra, unwanted paper in

A plastic bag for the wanted but un-glued collage items

Altered Books
An Art Therapy Directive
An Old Book

Paint Brushes

Glue Sticks Acrylic Paints

Different decorative items

What would it look like to write your own story? In this directive the author gets to transform an
old book in to a creative expression of herself. It can be a way to re-write the authors story, or
a way to feel that somewhere her story is special enough to be in a book. Either way, the
impact is clearly a positive one that has the old become a creation of beauty.

Pick an old book that has several pages. Get the gesso out and paint as many pages as you would
like. You can also paint the outside of the book and give it a whole new title/look. Once the gesso
has dried begin painting, gluing, writing, or in any way you want to tell your story. You can also
use the existing pictures and words that are in the book, incorporating them in to your designs.
However you design the book is up to you. It is suggested that you choose a theme for your book.
You can also look at it as a diary of sorts, where you make a new page for each new day of your
life. The door is open and you are free to express in your own personal way.
Note: It is encouraged to work with your clients to have fun with this process. There is no
right or wrong way to do this. Creativity is meant to flow, so judging the end result or the
process will work best if it is suspended for this directive. HAVE FUN!!!
Reflection/Processing Questions:
1) How was it to create your Altered Book?
2) What was one of the most impactful entries that you created? What had it be so impactful for
3) What was it like to just let yourself create something without judging it? Did you struggle
with it or did it come easily? How could you let go and enjoy it even more next time?

Expressive Outcome Possibilities:

1) Person(s) will be able to be creative and expressive.
2) Person(s) will be able to explore and experience different art media.
3) Person(s) will be able to increase their sense of self-worth and value.
4) Person(s) will be able to allow creativity to flow, increasing ability to problem-solve.

"Letting It Flow"
There are even more web-sites out on the internet that talk about how to make an Altered Book. These
books can be highly personalized. People can sketch in them, put ribbons in the, have stamps, pictures
that are personal, do collages, paint, and so much more. It really is up to you and can be a great deal of
fun when the person making the Altered Book allows themselves to "let it flow". This may take some
work with you (the Art Therapist) and the client. Be prepared to work on some deep issues with the client,
as they are ready. This is an on-going project/process that you and client may come back to repeatedly.
Again, there is no "right" or "wrong" way to do this. Enjoy the process, and encourage each person to
respect their own process (i.e., not pushing self or judging self).
This type of directive is an on-going project. It can often take a whole session to do just one page.
Sometimes, the client may feel ready to work on the Altered Book. Other times, she/he needs to just "let it
sit". Whatever the client feels is best for her in this process, it is encouraged to let the client be selfdirected with this process.

You might discuss with the client about the imagery showing up in the book. What does that image
symbolize to you? How does that apply to your life? Are there some similarities to other aspects in your
life? What themes are coming out for you? Are these important themes to you, or are you needing to "let
them go"?
Safe Place
It is often important to emphasize to the client that your office is a "safe place" where the client can put
down on paper (in clay, in paint, etc) how he/she is actually feeling. No one will see it. And, you (as the
Art Therapist) will not judge it. It will be there, kept safe, and no one else will see it. Sometimes, the
client may want to take the book home with her to work on it or have it close. Although this is temping to
do, it is encouraged that the client keep the book at your office to work on it when you are together at
first. After you can gauge how the client is doing with the Altered Book process, then the client may
determine it is time for her to take it home with her. Creating a "safe place" for her to keep her work is
going to be very important for her sense of security while dealing with possibly upsetting topics.

Basic Guide to the 3 Stages of the Altered Book

Process in Art Therapy

Posted on November 10, 2013

I divide the process it into, The Beginning, Getting Into it! (like the middle), and The End. There are 3
subphases to the First Phase:
Stages, Activities, Directives and Methods of Altering Books:
First Stage of The Beginning: The Invitation!
1. Inviting your patient to do the altered book, introducing the process and choices of media as well
as books to alter
2. It is best to have a variety of choices of books that you supply so the person does not feel like they
have to ruin a book of their own and feel that the therapist will hold the bad part by giving
permission to destroy a public already created object
3. Having, displaying one or more of your own altered book projects, finished or not, is a good way
to show/explain the project, and make it fun, acceptable and inspiring!
4. The Big Choice: Witness the patient choose what kind of book to alter or actively help with
suggestions if appropriate. See list of materials for further classifications and descriptions.

Second Stage of the Beginning: Destruction/Preparation of Book as Ground Surface for

Altering: The Separation Process of Removing Former Author/Identity of the Book to Prepare
for Creation of Your Original Artwork:
Destroy, Take apart, Eliminate, Discard, Remove, Rip, Tear, Cut, Alter surfaces, Change, Separate,
Dissolve, Kill, Remove, Expell, Extract, Remove
1.Take out pages, rip off half of pages, glue together pages, rip surface off board book pages, gouge out
board book pages, make holes and tears on paper pages. Cut pages, cut edges of pages, staple or attach
other pages or paper materials to be inside the book or extend beyond the page, Cut deep into the book
through layers of pages, poke holes, use Sandpaper to rough up surface for holding paint or to alter photos
and images in the book, keep book jacket as is, cut out parts, or discard. A whole session spent altering
the surface and ripping and throwing out pages can be a good way to jump right in, have fun, and avoid
getting overwhelmed with ideas about content.

Third Stage of the Beginning: Start Creating, Doing, Making, Using Materials:
Look, Find, Discover, Create Space, Begin Anywhere, Open, Enter, Conceive, Start Rebirthing Process
(Book as House, Body to Redecorate, Design, Embellish)
1. Choose some art materials, supplies, mixed media. See list provided.
2. Choose to jump in and explore and let the process lead you somewhere without an intention or with an
intention, theme. What will this be? A Book, An Object made with the book? Note: Calling it a SelfPortrait can give permission to let the book unfold session by session. What makes this project so open,
playful, fun and non threatening is often the idea of surrendering, seeing what happens, knowing you can
redo pages and even rip them out, so it tends to go well with a go with the flow attitude which is

mirrored in the improvisational aspect of the therapy session, thus, unless my patient states an intention or
purpose for the book, I encourage him/her to wander, let go, play
* Closed Flat Book versus Open Accordion Book: To keep the book flat if using thick or 3D media,
remove pages all over the book so it can close. Otherwise, dive in and expect the book to start expanding
like an accordion. (See Case Examples Presented.)
1. Locus: Decide whether to start with cover or back cover, keep book jacket to use, or start at
beginning, or dive into the book and work on pages at different sections.
4. Start altering/creating, with therapist as witness, companion, container, mirror, security guard

Second Stage after 3 Beginning Stages: Getting Into It! Down the Rabbit Hole
Play, Connect, Attach, Add, Embellish, Dig Up, Hide, Conceal, Reveal, Layer, Build
Directives/suggestions for this stage, which is the longest part of the process:
Note: There are so many things to do with altered books, these are just a few ideas to get you started If
a patient is stuck with how to begin in a later session with their ongoing project, I usually suggest some
new materials. Otherwise, you can ask if s/he wants a directive or choice of ideas to experiment with
1. In individual art therapy, with the altered book project, each session begins with an invitation and
choice to bring out the book and work on it or not. Some patients work on it every session, and
some put it aside and get reignited at a later time. Putting the book on the shelf can be
therapeutic in terms of the idea of letting something be unfinished, unknown, waiting for a new
moment, accepting that you dont feel like working on it. Or take out some other art work from
previous sessions and consider recycling it, cutting it up, incorporating it into the book somehow.
2. Tape up or paint on page or page spread and just reveal a few words that you choose.
3. Paint/mark up one side and stick it to the other and then separate for mirror image effect/print.
4. Openings and pockets: make different kinds of windows, doors openings: holes of different sizes
and shapes, windows that open and close, fold page in some way to create a pocket.
5. Experiment with unfamiliar materials from the list provided or take a familiar material and do
something new (stick feathers or other objects into model magic and glue to the page)

Pick a paper doll cutout and glue it on a page to create a full body self-portrait.

7. Glue an envelope to a page and hide or store things in it. Pick words from magazines, other pages
of the book or a word box.
8. Yarn and fabric, sewing supplies, experiment with sewing paper and fabrics on the paper of the
book or create a new page to put into the book somehow.
9. Go through the book and start creating layers by working on several pages at a time. If you wet
the page you can put objects between pages to keep them from sticking together or use binder
clips. Big binder clips can allow you to use wet media in different areas of the book in one

10. Consider the layout, you open the book and there are two sides. Are the two sides delineated and
separate or do you take both sides and turn them into one continuous surface? Can each side
represent opposing aspects of the Self?
11. Consciously consider the book to represent different aspects of who you are, your identity, parts of
yourself that you hide or reveal, parts you want to transform.
12. Write a letter to yourself or to your future self or someone else and put it in the book.
13. If you want to consider a topic or theme, think about what part of your story to tell: Is this book
about childhood, you now, the therapy process and what you are doing in therapy, or dedicated to
someone else, living or dead. Is it about a loss of some kind? Or your future child/baby? Does the
theme reflect an interest or passion of yours or something new to discover?
14. You can surrender to the book and let it lead you where to go and enjoy the process without
having any idea what it is about or how it will turn out. Or, ask the therapist to lead the way with
his/her book and copy the what s/he is doing.
15. Take a page or page spread and deliberately make it ugly, use colors you dont like, put words you
dont like on it, make an image that you find unpleasant. Put it aside and look at it during another
session to see if your attitude towards it has changed and what you learn from this Ugly Self. Keep
it or rip it out and cut it up and put it throughout the book.
16. Try weaving with paper, ribbon, yarn, rubber bands
17. Use double sided decorative paper or fabrics or foldouts to add new pages into the book.
18. Glue two books together and start from there.
19. Find words in the book to create a title
20. Create fold out pages and add things in the hidden page.
21. Deliberately use materials that extend beyond the page, horizontally or vertically, like suspending
cut fabric or thread or wire with bead on it, a painted tea bag, or a glued on book mark.
22. Use an unconventional type material: glue a teabag somewhere, make a chain of safety pins, play
with aluminum foil, napkins, paper clips, coffee beans, sand, etc.
23. Add in personal objects, old photos, tickets, menus, receipts
24. If your patient wants to, you could create two books at once, either by both working on similar or
different books at the same time or even passing books back and forth.
25. Use a page spread or page in the book to process a dream.
26. Make a small doll, figure or animal to attach somewhere to the book, either to be able to move it
to different parts of the book or to stay in one place with the book as environment.

Third and Last Stage: Finishing the Book!

The End, Time for Reflection on the whole process Book as Therapeutic Object

1. How do you know its finished? Does the book supply the stopping point? Do you intentionally
end it? Do you choose to finish it by stopping but considering it unfinished and that it will
remain unfinished? (Accepting the unresolved parts of the Self, seeing the Book as a Book of life
that you put aside or decide to end with extra pages left in unaltered.)
2. What feelings come up around finishing your book and your therapist witnessing the ending of
this big Project?
3. Does the book mirror something in the therapy process? Are you feeling like you have reached a
turning point in therapy and ending the book satisfies that feeling? Does the book signal that you
want a break in therapy or to end therapy?
4. What else comes up around ending/finishing/completing or leaving incomplete?
5. What do you want to do with your Altered Book? Does it now have a Title? How does it feel to
hold it in your hand and look through it? How does it feel to watch your therapist hold and look
through it? Are there moments you remember that were important for you on certain pages? Do
you have a narrative that tells a story and how did the story arise? What does it feel like to have a
chaotic book with no title that was made in no particular order with many different media versus
making a book where you started at the beginning and knew you were finished when you reached
the last page?
6. If you and your therapist made mirror books together, what do you want to do with the finished
books? How do they reflect your therapeutic relationship?
7. For those who started the book at the beginning of therapy with their art therapist or a few
sessions after beginning and worked on the book continuously in every session, what does it
reflect to you about the therapeutic relationship, the therapeutic process, trust, intimacy,
vulnerability? What does it feel like to have a concrete physical record contained in a book as
reflected or symbolic of the therapy?
8. Does ending this book inspire you to start another one or take a breather? Are you working on
more than one book? If so what is it like to end one while continuing with one or more others?
9. Post-partem feelings: process any emptiness, sadness, feelings of loss about finishing, ending the

Create Your Own Altered Art in 60 Minutes!

By Tatiana Kuzyk
You can create a beautiful altered art mixed media keepsake in just 60 MINUTES! Whether you want to
nurture your inner artist or need a quick, cheap, unique gift idea play along and follow these simple
steps. Above all, you will enjoy making your very own original art piece.
Let's get the FUN started!

Suggested Materials:
Prepare all the materials before beginning your project. Here's the list of what you will need (feel free to
use substitutes when it comes to paint colors, product brands, or choice of imagery for your design):

4"x4" Ampersand Gessobord (sold in a pack of 4)*

Background paper (acid free)

An image for your centerpiece (focal point of the composition) you may want to use an abstract
design, an actual photo, or just an image from a clip art at iCLIPART

1' of ribbon of your choice

3-5 buttons

An embellishment or a sticker of your choice for a secondary element of design

6" of Mouline (color of your choice) at your local fabric/crafts store

Golden Soft Gel Semi-Gloss*

Liquitex Matte Medium*

Golden Gel Topcoat w/UVLS (Semi-Gloss)*

Liquitex Raw Umber acrylic paint*

1 Flat Brush #6

Glue Gun

Exacto Knife

* Available from Dick Blick

Once you have all your supplies lined up, you can set the timer for 60 minutes. Ready. Set. Go!

10 Steps to a Finished Art Work:

Step 1
Paint the sides of the gesso board with Raw Umber using brush #1 and let it dry for couple of minutes.

Step 2
Put the gesso tile-board on the sheet of decorative paper that you'll use for the background. Align the
straight edges and cut out the outline of the tile (all four outer edges) using the Exacto Knife.

Step 3
Apply generously Golden Soft Gel (Semi-Gloss) to the surface of the gesso board and place the cutout
background paper on top of the gel layer. Make sure the corners have sufficient amount of gel as they
tend not to adhere very well. Once the paper is in place, apply a thin amount of Golden Soft Gel to the
surface of the paper (it will create a nice flat texture and will add a bit of sheen). It takes between 10-15
minutes for the surface to be dried enough so, you can proceed to the next step.
ARTIST'S TIP! A hair dryer, set on low, will speed up the drying, or you can place your art work near a
vent register.

Step 4
Again, apply a generous coat of Golden Soft Gel, this time to the back of your main image, and place it in
the slightly off-center position, somewhat to the left on top of the gesso tile ( or you may want to
experiment with your own ideas!) Put a light coat of Soft Gel on top of the image. Let it dry for 10
minutes (you may try to use a hair dryer, on low setting, to speed up the drying process).
continued from page 1

Step 5
Measure and cut 4 pieces of ribbon that will serve a borders to your image. Apply a generous amount of
Golden Soft Gel to the sides of the image and place each piece of ribbon in their place, gently tap the
excess of gel medium out and remove it with your brush. Once in place, use brush #1 to apply two coats
of Liquitex Matte Medium to the surface of each piece of ribbon. Let it dry for about ten minutes. Again,
a hair dryer SAVES time!

Step 6

Place a sticker or an embellishment directly below the main image. I like to use a colored marker or paint
an outline of the embellishment in order to bring out more contrast. I call it a 'POP-UP EFFECT' as the
image pops, or seems to be leaping out of the composition. In this case, I first applied a very thin,
watered-down coat of Golden Indian Yellow Hue acrylic paint to the surface of my sticker in order to tone
it down. Then I immediately followed with an outline utilizing Golden Raw Umber acrylic paint.

Step 7
This is my FAVORITE part! Let's line up those cute buttons 3-5 will do it, depending on the size you
choose. In the meantime plug in your heating gun. Once you settled on the button combination and
placement, thread the Mouline through each one, going through both holes. Using the heating gun attach
the buttons to the surface of your artwork (in my example, I placed them to the right of the main image).

Step 8

Now, apply a thin coat of Liquitex Matte Medium with a brush #1 to the Mouline in order to set it in a
desired placement. If necessary, cut the loose ends of the Mouline.

Step 9
Apply a generous coat of Golden Gel Topcoat w/UVLS (Semi-Gloss), the BEST UV protection medium
around (in my opinion). It will protect your art work from color fading due to the effects of UV radiation
over time. This medium dries translucent in under 10 minutes!

Step 10
IT IS DONE. FINISHED. COMPLETE. Congratulations on creating your very own Art Piece! Now,
Show it OFF! Give It Away! Enjoy!

The Keeper Boxes

An Art Therapy Directive

Goal of Activity:
To give the client a safe place to express negative emotions or memories. Often
people keep things bottled up inside of them, not trusting anyone (or themselves) to let it
out. This directive gives the client a safe place to express herself and also provides an
opportunity to let go of what has been bothering her.
Age Level:
All ages.
Suggested Time Allowance:
20-25 minutes for task, 15-20 minutes for processing and feedback.
To increase clients self-awareness.
To provide relief and decrease stress from holding on to painful events.
To have clients experience increased self-esteem and self-worth.
Any kind of small box (for this directive we are starting out with a small box in
order to keep things to a manageable size), white construction paper, decorative paper
(such as the paper used for scrap booking), ribbon, glue, scissors, and markers or pens.
Your client can also decorate with paint or any other materials you can find that would
work for this directive.

If you do not have access to boxes, you can also make a paper box.

1) Have the client choose a box (shape and size - you can also have the client make a box
out of paper Mache or other materials).

2) Next, ask the client to decorate the outside of the box.

3) Cut several white paper pieces down to the size of the box so they can fit inside (these
will be used as the pieces where the client will draw or color out what she is feeling or any
negative memories, etc.).
4) Place personal, important experiences, emotions, or thoughts on the pieces of paper
inside (you can do this in one session, but often I have found that clients will take several
session to fill the box and will let you know when they are ready to make another entry).
It's important to highlight to the client that although it's alright to use words, the more
images and colors that are used the more of a positive impact it will have on the client.

5) Put the decorated paper in the box for safe-keeping and place the box in a safe place.
6) Process the experience with the client.
Processing Questions:
How was it making your Keeper box?
What did you place on some of the pieces of paper to go inside the box?
Can you leave it behind when you put the lid on, allow that issue to stay in the box
without taking it with you?
4) What will it take to leave that memory/emotion here with me so I can keep it for you?
Pandoras Box: Often, clients struggle with letting go of the pain surrounding a trauma.
One of the analogies that I use with the client to help her in the process of dealing with her
negative emotions/memories revolves around the story of Pandoras Box. The idea is that

if we open the lid all our emotions will come out (possibly explosively) and we will be out
of control. Most clients seem to recognize this fear as being one they have as well.
I then ask, What if there were several boxes, one that represented each feeling and each
experience separately? (I have them imagine my office wall as being full of shelves and
on those shelves are tons of different boxes all shapes and sizes.) I tell them, "You can take
down one box at a time, open the lid to deal with that emotion or experience and then put
the lid back on and the box back up on the shelf whenever you want." This gives the client
a sense of control and begins to shift her paradigm.
Then, each box I have the client use in art therapy is a metaphor for control. I may ask,
"How does it feel to be able to put the lid on the negatives so you can let the positives
come out?" After she answers, I reiterate that she has the power to do this with her life as
Getting It Out: I further explain that it's important to take the lid off now and then so
she can work on things in a "safe place" (like art therapy). Doing this helps the emotional
pressure from building too much or become too much of a burden.

Pace It: Taking her time is also very important. She has her own "process" and it is
important to respect that process (not rushing or pushing too much).
You, as the art therapist, may need to help your client in the decorating process (depending
on the needs of the client). Sometimes, the client does not have the confidence to make it
happen. This is where positive affirmations and encouragement can make a huge
difference. Usually, the end product evokes a sense of pride and increased self-worth in

what was created.

Happiness Books
There are many things that can make us happy, but when you are depressed it can
be hard to remember those things. This directive is designed to help people
remember once more.
Deborah R. Davis, ATR-BC, LPC, "Creativity Matters: Art and Therapy, LLC"

Create a book that reminds you of what makes you happy. You can either brainstorm ideas first, writing
them down on a separate piece of paper, or just come up with them as you go along. The book can be one
you create, or you can choose an old book that you would like to "alter" (painting the pages, collaging
over the pages, putting Gesso down and then writing or painting on the white canvas). This blog entry
will talk about the different ways you can create a Happiness Book.


Creating a Book = If you are making a book from scratch, choose paper (can be of whatever width you
may have handy, or what you prefer - the thicker the paper, the more it will withstand normal use), glue
sticks, scissors, markers, ribbon, and a hole-punch.

Altering a Book = If you are making a Happiness Book by altering an existing book, choose a book that
may be old or one that the library is giving away or selling. Get gesso to put on the pages if you want to
make new pages, or leave the gesso off the page and simply add to what is already there (this can be fun
with books that already have a lot of pictures). Get magazines that you like, to cut out images of what
makes you happy. Also, use scissors, glue, stickers, ribbon, feathers, glitter, or any other items you think
would be fun to put in to your altered book.

Step 1 = Clear a space to set your materials. Cut out the size that you want your book to be, and the
number of pages. Then, choose which side of your book will have the holes for the ribbon or string to go
through in order to bind your book together, then punch the holes in each piece of paper. Before you tie
the book together go do step 2 first.
Step 2 = Start with your front page. Design it how you would like. Make sure it says somewhere on the
front "My Happiness Book". Use the markers to write and put designs on the page, or print out words or
images, then cut and paste them on the front page.
Step 3 = For page 1, choose one of the items that you have precut out from a magazine or printed out
from a computer, or draw an image that represents what makes you happy. Continue this for page 2, 3, 4,
and so on.

Step 4 = Once you have filled up all the pages with images, words, and designs that you like, put all the
pages together and bind your book. Take the ribbon or string and put it through the holes that you hole
punched out first. Tie it up in a bow or a knot.

Step 5 = Take your Happiness Book and go show it to someone important to you that you trust will
appreciate what you have created. Read it to them, and share about what makes you happiest. The more
we share about what is positive in our lives and that makes us happy, the more we will experience being
happy ourselves.

The Relationship Map is very simple in structure: it is a mandala (sacred circle) drawn on a colored
square piece of paper with a smaller circle inside it.
I have found it very useful to do this intervention with many adults patients, especially people working
on their relationships with other people and learning to set better boundaries. The goal is to build/establish
a balance between rigid and loose boundaries, thus flexible boundaries. If you imagine a barrier that
feels like a brick wall, that is a rigid boundary. An overflowing puddle is an image of a loose kind of
boundary, whereas a flexible boundary would be some thing that can move and tighten and loosen based
on the circumstances of the here and now, so it is a balancing act, and we all have challenges working on
our boundaries. The people who seem to find this exercise the most helpful and useful are those whose
boundaries are too loose. They merge easily with others and have a hard time setting limits and saying no.
Things like giving people money with no consideration of their own finances, overly caretaking, doing
things that later make them feel resentful and upset, but caught in a bind where they feel they have to be
nice and saying No I wont do that, or I dont like when you do that, or I disagree with you, feels like
they are being mean.
We all have had challenges at crossroads in our lives where we look around and question our relationships
and sometimes weed the garden and get rid of anything toxic, which could be very deeply rooted.
The first step is to pick a colored square piece of paper and put a paper plate about the size of a face on it
and trace a circle. Right away you have a symbol of the self, a mandala. Then I invite you to write your
name in the middle with the colored sharpie of your choice and put a heart or other shape around it. Then
you write down qualities about yourself such as kind, creative, optimistic, good friend, compassionate
original,adventurous, kind or whatever you come up with. Its a time I will observe to my patient, You
forgot such and such and give then additional qualities I know to be true about then that they overlooked.
Next, you draw a smaller circle with isnt the big circle. The big circle can be conceived of as a barbed
wire fence with xs in it and then the area outside it you write toxic zone. That is the area to put the people
you cant interact with at all anymore who have become poisonous. It is very therapeutic to have your
therapist witness you place bad abusive people in your life in the toxic zone. I am not a proponent of the
theory that forgiveness frees you. I actually believe there are people who are so damaging to you that you
cannot forgive their actions unless that person realized how terrible s/he has been to you and take
responsibility and apologize which, is not a frequent thing. So putting even your own parents in the toxic
zone and bring supported about setting a form bound site of no longerletting them into your life is a very
powerful aspect of healing.
Another dimension of this relationship map involves, what you start with, whom you put where, and
whether you include your therapist herself in it. I also give people an opportunity to suggest people
include dead people or animals as well with a different color or shape around them. Some of the nuance
of the use of the circles is where you put the person. a person could be right on the line, meaning they are
going in one direction or another soon but youre not quite sure, or someone you just met would be

appropriate to put in the outer circle. When someone puts new people in the inner circle, it provides a
great opportunity to discuss their patterns of trusting right away and letting people in too quickly perhaps.
The other great thing about this relationship map is that you put the date on it, and make a new one a few
months later. I usually have the patient do the whole thing and then bring out the older one and we can see
what has happened, who has moved where, who has disappeared altogether, who has appeared, etc.
Below are images of an example of how to make a map like this.
Having a visual diagram is actually a very powerful way to take a good look at the relationships in your
life and re evaluate what you want from others and, most importantly, who deserves to share your good
qualities that you wrote in the beginning

Relaia Harta este foarte simplu in structura: ea este o mandala (cerc sacru), ntocmit pe o bucat ptrat
de culoare de hrtie cu un cerc mai mic n interiorul acestuia.

Am gsit-o foarte util pentru a face acest lucru "intervenie" cu multi adulti pacienti, mai ales oameni care
lucreaz n relaiile lor cu alte persoane i de a nva s stabileasc limite mai bune. Scopul este de a
construi / stabili un echilibru ntre graniele rigide i moi, astfel graniele "flexibile". Dac v imaginai o
barier care se simte ca un zid de crmid, care este o limit rigid. O balt debordant este o imagine de
un fel liber de grani, n timp ce o grani flexibil ar fi un lucru care se poate deplasa i strnge i
desface n funcie de circumstanele aici i acum, aa c este un act de echilibrare, i noi toi avem
provocri lucru pe graniele noastre. Oamenii care par s gseasc acest exerciiu cele mai favorabile i
utile sunt cele ale crui granie sunt prea largi. Ei fuziona cu uurin cu alte persoane i au un timp de
greu stabilirea unor limite i a spune nu. Lucruri cum ar fi acordarea de persoane bani, cu nici o
consideraie de propriile finane, extrem de paza, a face lucruri care fac ca mai trziu s se simt
resentimente i suprat, dar prins ntr-o capcan n care ei simt c trebuie s fie "frumos" i a spune Nu,
nu se va face care, sau nu-mi place cnd faci asta, sau nu sunt de acord cu tine, simte ca acestea sunt n
curs "nseamn".
Cu toii am avut probleme la rscruce n viaa noastr n care ne uitm n jur i ntrebarea relaiile noastre
i, uneori, "iarba din grdin" i de a scpa de orice toxic, care ar putea fi foarte adnc nrdcinat.
Primul pas este de a alege o bucat ptrat de culoare de hrtie i a pus o plac de hrtie cu privire la
dimensiunea de o fata pe ea i s urmreasc un cerc. Imediat avei un simbol al sinelui, o mandala. Apoi,
v invit s scrie numele tau in mijloc cu Sharpie colorat de alegere i a pus o inim sau alt form n jurul
ei. Apoi scrie caliti despre tine, cum ar fi un fel, creativ, optimist, bun prieten, iniial plin de
compasiune, aventuros, un fel sau orice i-a venit cu. Este un timp, voi observa la pacientul meu, "Ai uitat
cutare i cutare" i s dea apoi caliti suplimentare pe care le cunosc pentru a fi adevrat despre atunci c
au trecut cu vederea.
Apoi, desena un cerc mai mic cu nu este cercul mare.Mare cerc poate fi conceput ca un gard de srm
ghimpat cu xs n ea i apoi zona din afara se va scrie zona de toxic. Aceasta este zona de a pune oamenii
pe care nu poate interaciona cu deloc mai, care au devenit otrvitoare. Este foarte terapeutic pentru a
avea martor terapeut plasai oameni abuzive ru n viaa ta n zona de toxic. Eu nu sunt un susintor al
teoriei c iertarea te elibereaza. De fapt, cred c sunt oameni care sunt att de duntoare pentru tine c nu
poi ierta aciunile lor, cu excepia cazului n care persoana a realizat ct de groaznic el / ea a fost la tine i
asume responsabilitatea i-mi cer scuze, care, nu este un lucru frecvent. Deci, punnd chiar proprii prini
n zona de toxice i s aduc sprijinit despre configurarea unui site form legat de ele nu longerletting n
viaa ta este un aspect foarte puternic de vindecare.
O alt dimensiune a acestui hart relaie implic, ceea ce ncepe cu, care ai pus unde, i dac sunt
terapeutul tu se n ea. Eu da, de asemenea, oameni o oportunitate de a sugera oameni sunt mori sau
animale, precum i cu o alt culoare sau forma n jurul lor. Unele dintre nuanta de utilizare a cercurilor
este locul unde ai pus persoana. o persoan ar putea fi chiar pe linie, ceea ce nseamn c se ndreapt
ntr-o direcie sau alta n curnd, dar tu nu esti destul de sigur, sau cineva care tocmai ai cunoscut-ar fi
oportun s se pun n cercul exterior. Cnd cineva pune oameni noi n cercul interior, acesta ofer o mare
oportunitate de a discuta despre modelele lor de ncredere imediat i a lsa oamenii n prea repede poate.
Un alt mare lucru despre aceast hart este relaia pe care ai pus data pe el, i s fac un un nou cteva
luni mai trziu. De obicei am pacientul face totul i apoi scoate cel mai vechi i putem vedea ce sa
ntmplat, care sa mutat acolo unde, care a disprut cu totul, care a aprut, etc

Mai jos sunt imagini de un exemplu de cum s faci o hart ca aceasta.

Avand o diagram vizual este de fapt un mod foarte puternic de a arunca o privire la relaiile din viaa ta
i re evalua ceea ce vrei de la alii i, cel mai important, care merit s mprteasc calitile voastre
bune pe care le-ai scris la nceput ...

Mandala Journalling
Posted on January 8, 2012
The mandala was first mentioned in the context of therapy, as far as I know, by Carl Jung. He did his own
mandalas and talked about them in his memoir and in The Red Book. He worked with his patients using
the mandala. The word mandala means sacred circle. The mandala is thought to be a symbol of the self.
I have often invited new patients in the first session to create a mandala. I find it best done on dark or
black paper for the mandala to emerge out of the shadow. Also of course many people, even artists and
art therapists, feel frozen in the therapy session when presented with a blank piece of white paper, so the
circle makes a big difference between anxiety and feeling grounded
The mandala makes a wonderful holding environment and it can feel very soothing to draw one. I usually
have my patient trace the circle themselves, using a paper plate about the size of a face on big enough
paper to provide room for extending the mandala outwards and for drawing outside the circle. The
boundary of the circle will be emphasized and not crossed when a person has a great need for boundaries
in his/her life or if one is by nature very conscious of boundaries. Some have rigid boundaries, some
This first session mandala is not only useful as an ice breaker. I find mandala making most helpful
when I make them over time and can compare them with each other. I often suggest to patients that they
keep a small sketchbook and try to make one mandala per day as a form of journalling with images. I
myself have done this form of Journalling from time to time. For me it is a great thing to do to make sure
I am making time daily for art making which I need to do most of the time to ensure good self care. If I
happen to be at a crossroads in my artwork or a bit stuck, the mandala is always there for me. The
following are images from different journals: the ones on the black background are from June 2005 and
the others are from 2010.

I just now remembered that my patients actually sit facing a wall with a huge mandala collage on it (7
foot diameter) in my studio that I made many years ago when I was only making a series of mixed media
mandala collages of different sizes. It is very abstract and chaotic looking. Over the years various patients
have commented on the piece as a whole or noticed small parts of it where they see and recognize some
image that I did not consciously try to make in this piece.
I hope this post inspires you to make your own mandalas or do them in a group or with individual
patients. I have also led several workshops incorporating art and meditation in which the art making part
involved making mandalas on black or brown paper with the non dominant hand to help facilitate a level
of comfort with image making, ie. this is my other hand so I dont have to worry about making a good
Mandala a fost menionat pentru prima dat n cadrul terapiei, n msura n care tiu, de Carl Jung. El a
fcut propriile mandale i a vorbit despre ele n memoriile sale i n Cartea Roie. El a lucrat cu pacientii
sai, folosind Mandala.Mandala cuvnt nseamn cerc sacru.Mandala este considerat a fi un simbol al
Am invitat de multe ori pacientii noi n prima sesiune pentru a crea o mandala. Mi se pare cel mai bine pe
hrtie de culoare nchis sau neagr pentru Mandala s ias din "umbra". De asemenea, desigur, mai
multe persoane, chiar si artisti si terapeuti de art, simt ngheate n sesiunea de terapie, atunci cnd a
prezentat cu o foaie de hrtie alb, astfel nct cercul face o mare diferen ntre anxietate i sentimentul
de la pmnt ...
Mandala face un mediu minunat exploataie i se poate simi foarte linititor pentru a trage o. De obicei
am pacientul meu trasa cercul ei nii, folosind o plac de hrtie cu privire la dimensiunea de o fata pe
hrtie suficient de mare pentru a oferi spaiu pentru extinderea Mandala spre exterior i pentru desen n
afara cercului. Limita de cercul va fi accentuat i nu a trecut, atunci cnd o persoan are o mare nevoie de
limite n lui / ei de via sau n cazul n care unul este de natur foarte contient de limitele. Unii au limite
rigide, unele lichid ...

Acest prim mandala sesiune este util ca un "sprgtor de ghea" nu numai. Mi se pare de luare mandala
de mare ajutor atunci cnd i-am face-a lungul timpului i le poate compara cu cellalt. V sugerez de
multe ori la pacientii care au pstreze un caiet de schite mic i ncearc s fac o mandala pe zi ca o form
de jurnalizare cu imagini. Eu nsumi am fcut aceast form de jurnalizare din timp n timp. Pentru mine
este un lucru mare s fac pentru a se asigura Fac timp de zi cu zi pentru a face arta pe care am nevoie
pentru a face cele mai multe ori pentru a se asigura de ingrijire de sine bine. Dac se ntmpl s fie la o
rscruce de drumuri n arta mea sau un pic blocat, Mandala este mereu acolo pentru mine. Urmtoarele
sunt imagini de la diferite reviste: cele de pe fundal negru sunt din iunie 2005 i celelalte sunt din 2010.
Tocmai acum amintit c pacienii mei stau de fapt cu faa la perete, cu un colaj imens mandala pe ea (cu
diametrul de 7 metri), n atelierul meu pe care am fcut muli ani n urm, cnd am fost a face doar o serie
de colaje Mandala mass-media mixte de diferite dimensiuni. Este foarte abstract i haotic cautati. De-a
lungul anilor diferite de pacienti au comentat pe piesa ca un ntreg sau a observat o mic parte din ea n
cazul n care se vd i recunosc unele imagini pe care nu le-am ncercat n mod contient s fac n
aceast pies.
Sper ca acest post te inspira pentru a face propriile mandale sau le face ntr-un grup sau cu pacientii
individuale. Am condus, de asemenea, mai multe ateliere de lucru care ncorporeaz art i meditaie, n
care partea de luare de art implicat face mandale pe hrtie neagr sau maro cu mana non dominant
pentru a facilita un nivel de confort cu luare de imagine, de exemplu. aceasta este cealalt mn, aa c nu
trebuie s v facei griji despre a face un "desen bun" ...

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