is then asked to draw the mandala from the card they choose with an oil pastel of the color of their choice. The artist is then asked to explain if there were any meanings, experiences, or related information related to the mandala they drew. This test is based on the beliefs of Joan Kellogg, who sees a recurring correlation between the images, pattern and shapes in the mandalas that people draw and the personalities of the artists. This test assesses and gives clues to a person's psychological progressions and their current psychological condition (Malchiodi 1998). The mandala originates in Buddhism; its connections with spirituality help us to see links with transpersonal art. House–Tree–Person In the house-tree-person test, the client is asked to make a drawing that includes a house, a tree and a person, after which the therapist asks several questions about each. For example, with reference to the house, Buck (1984) wrote questions such as, "Is it a happy house?" and "What is the house made of?" Regarding the tree, questions include, "About how old is that tree?" and "Is the tree alive?" Concerning the person, questions include, "Is that person happy?" and "How does that person feel?" The house-tree-person test is a projective personality test, a type of exam in which the test taker responds to or provides ambiguous, abstract, or unstructured stimuli (often in the form of pictures or drawings). It is to measure aspects of a person's personality through interpretation of drawings and responses to questions, self-perceptions and attitudes. Outsider art The relation between the fields of art therapy and outsider art has been widely debated. The term art brut was first coined by French artist Jean Dubuffet to describe "art created outside the boundaries of official culture". Dubuffet used the term art brut to focus on artistic practice by insane-asylum patients. The English translation "outsider art" was first used by art critic Roger Cardinal in 1972. Both terms have been criticized because of their social and personal impact on both patients and artists. Art therapy professionals have been accused of not putting enough emphasis on the artistic value and meaning of the artist's works, considering them only from a medical perspective. This led to the misconception of the whole outsider art practice, while addressing therapeutical issues within the field of aesthetical discussion. Outsider art, on the contrary, has been negatively judged because of the labeling