By now, the following inkblot techniques are available for both research and clinical use: (1) Rorschach Inkblot Test; (2) Holtzman Inkblot Technique ;( 3) Somatic Inkblot Series-Cards and Video; (4) Somatic Inkblot Series-II Image and Video; (5) Somatic Inkblot Series- Living Images; and (6) Shukla's Colored Inkblot Technique.
It is not very easy to trace the history of inkblot techniques inferences in this regard can be drawn from Rorschach's original writings and from the reporting of three of his colleagues, namely, Emil Oberholtzer, Walter Morgenthaler, and George Roemer. Zubin et al. (1965) have reported that L D. Vinci and Botticelli used formless stimuli as inkblots for stimulation of imagination in the 5th century. Exner (1969) has mentioned that during the later part of the 19th and early 20th century there was a tremendous public interest in inkblots not as a test but as a game.
During these periods, various kinds of inkblots were commonly used in a popular
game called Blutto, in which players were to associate an image with a design.
Krugman (1942) evidenced the use of inkblots for indexing certain personality
traits like visual images and other mental abilities by Binet and Henry (1895).
Dearborn (1897) reported the potential and employability of inkblot techniques
in experimental psychology. Tulchin has reported Dearborn's contributions in
applying the inkblot techniques, and of pre-Rorschach works of Sharp,
Kirkpatrick, Whipple, Pyle, Bartlett, and Persons undertaken between 1900 and
1917 concerned with the inkblot methods in England and the USA.
Zubin and Eron (1966) have summarized the historical antecedents of inkblot techniques in terms of three periods. First, paintings and artistic creations stimulating creative imaginations during the 19th century constitute the pre-experimental period. The use of inkblots by Binet and Henry (1895) to index mental abilities, and visual imaginations depicts the psychological experimental period. (Second phase) Binet and Henry found a positive relationship between the number and types of inkblot responses and visual imagination. Some other inkblot researchers hypothesised that since ambiguous stimuli like inkblots slow down conscious awareness, these can be used to access the deep latent perceptual processes (Whipple, 1910).
The third phase (Psychodiagnostic) began in 1911 with Rorschach’s innovative work with ‘interpretation of accidental forms; His deep interest in artistic forms and perception became apparent during his school days, so he was nicknamed ‘Klex’ or “inkblots” by his school mates and peers ( Cassell, 1980). Roemer (1967) mentions that Rorschach was primarily interested in developing inkblots to investigate reflex hallucinations and to identify schizophrenic tendencies that discriminate them from other characteristics of normal and mental disorders. Ultimately, Rorschach published his set of 10 cards in 1921 along with a monograph named “Psychodiagnostic” and its English version appeared in 1942. After the sudden demise of Rorschach, some of his colleagues proceeded with Rorschach's work which resulted in the development of five systems of Rorschach. Holtzman (1961) observing the limitations and problems with Rorschach Inkblot Test, he developed Holtzman Inkblot Technique (HIT). Similarly, Cassell (1965) diverging from the Rorschach procedure, began using inkblots to investigate body perceptions and somatic symptoms. Cassell (1980) developed the Somatic Inkblot Series (SIS) as an adjunct therapeutic aid as well as a diagnostic tool with which the clinician can hear the individual's 'inner cry.' Indian researchers have also used these inkblot techniques as Psychodiagnostic as well as personality assessment instruments.
Rorschach Inkblot Test: Although the origin of Rorschach occurred in Europe, its subsequent development and expansion were realized in the USA (Butcher, 2010, Exner, 1993). Its expansion and development probably were facilitated by the weaknesses of objective tests/ inventories (Shneidman, 1965). However, the rise of the Psychodynamic psychoanalytic movement and its migration from Europe to the USA during the 1930s mainly contributed to the extension and development of the Rorschach method. The Rorschach test, traditionally being considered a projective technique, is a well-known and widely used inkblot test developed by Swiss psychiatrist Herman Rorschach (1884-1922) and published in 1921. Its English version was published in 1942. There are many inkblot tests, but Rorschach is considered the most popular by now (Mihura & Meyer 2015)
It consists of a set of 10 cards on which are printed inkblots that are symmetrical from right to leave, of which five are black and white with different shades (achromatic), and the other five are coloured (chromatic). Out of 5 chromatic cards, two are red and grey and three are multicoloured inkblots devoid of grey and black. The background of all the ten cards is white. A brief description of all the ten cards is as under:
Card I consists of a black and grey inkblot with four white spaces, two each on the left and right sides, somewhat resembling a bat or flying animal. Card II has two black figures slightly dotted with red. Images are united at the bottom centre by a red spot, having a white space dividing them in the middle, linked at the top, and separately caped in red on both sides. The blot as a whole appears to consist of two clowns playing, patty-cake. Card III provides an impression of two human bodies in black with a big red bow between them and a red flash in each of the bottom corners. Card IV is all black with a grey shade. White spaces at the centre of the top depict an impression of an animal's face in two big shoes. It is generally seen as an animal or skin of an ape-like monster. Card V gives an apparent impression of a butterfly or a bat. It has grey extensions on the left and right sides, top and bottom. Card VI consists of an inkblot with a grey shade having an extended projection at the bottom. It appears somewhat like a fury skin. Card VII consists of a horseshoe-shaped blot of which upside and downside depict two female dancers. The last three cards are multicoloured, devoid of grey or black. Card VIII is blue, green, red, and orange from top to down, giving the animal's impression on each side. The whole blot is divided by white space, although all regions are connected by coloured faces. Card IX has a red foundation green above it and is overladen with orange colour. A bluish-white haze separates these green and orange areas. Card X is an outburst of various colours, all are separated yet united by white interlocking.
Rorschach himself argued that while perceiving these inkblots, associations or memories of the perceiver are invoked in his mind and he attempts to fit these in the inkblot. Rorschach used the term “apperception” to explain the underlying threefold process of perceptions, recall, and matching. He stated that such process is not by chance rather related to the perceiver's basic personality make-up. This conceptual assumption is the contribution Rorschach made to psychology and psychiatry. The Rorschach as a psychodynamic and clinical tool was described during 1940 and 1950, acknowledging its utility in clinical psychology by the subsequent developers and clinical researchers. It became the fourth most frequently used psychological test in 1947 (Louttit & Browne) and first in 1961 (Sundberg). in spite of, criticisms from within and outside of the psychology, Rorschach Inkblot Test are one of the most popular measures used in psychology up to now.