**11. Requirements and Exercises**

The test consists of the accomplishment of exercises of complementation of drawings or graphs previously designed and proposed so that the students complete them; they must provide all the necessary ideas to make the drawing interesting. The test evaluates the creativity from the use that the individual makes of his imagination. It consists of four exercises: The first three assess verbal or narrative creativity and the fourth evaluates graphic creativity.

**Exercise 1**. In this exercise, from a situation that is reflected in a drawing, the individual has to write everything that could be happening in the scene. The presented stimulus varies according to the version of the *PIC* in question: In the *PIC-N*, a boy opening a chest; in the *PIC-J*, a boy and a girl in a lake; and in the *PIC-A*, an ambiguous scene is presented in the street, in which several characters appear. This game allows the person to express their curiosity and imagination and has been included to explore the ability to formulate hypotheses and think in terms of the possible. The test allows the expression of curiosity and speculative attitude; the ability to go beyond the information provided by the stimulus, by posing di fferent possibilities with respect to what is imagined to occur on the scene.

**Exercise 2**. This exercise consists of a test, in which a list of possible uses of an object must be elaborated, according to Artola et al. [49]. In this case, it is: "Uses of a rubber tube"; in this exercise or subtest, the stimulus presented is the same in *PIC-N* as in *PIC-J* and *PIC-A*. This test is included as a measure of the ability of individuals to free their mind and think in an unconventional way; allows the evaluation of the "redefinition" of problems, that is, the ability to find uses, functions, and applications di fferent from the usual ones; to quicken the mind; and to o ffer new interpretations or meanings to

familiar objects, to give them a new use or meaning. Subjects can use the number and size of tubes they want. As in the first exercise, there is a list from 1 to 38, and it starts with an example.

**Exercise 3.** The exercise proposes subjecting subjects to unlikely situations. The situation presented varies according to the version of the *PIC*. In *PIC-N*, the situation is as follows: "Imagine what would happen if each squirrel suddenly became a dinosaur"; *in* the *PIC-J*, the situation is: "Imagine what would happen if the ground were elastic"; *in* the *PIC-A*: "Imagine what would happen if we did not stop remembering". The exercise evaluates the fantasy aspect of the imagination. This way of thinking seems very important in creative behavior. This exercise identifies the capacity for fantasy and the ability to handle unconventional ideas, which the subject probably would not dare to express in more serious situations, as well as openness and receptivity to novel situations. It is interesting how the test allows for the evaluation of the ability of "penetration" of the subject or ability to delve into experiences. Some of the consequences of the presented situation are obvious and simple to discover, while others, more remote, require a deeper study of the matter.

**Exercise 4.** This exercise is a graphic imagination test, inspired by the items of the Torrance Test (1966), according to Artola et al. [49]; in it, the subject must complete four drawings from a given stroke and put a title to each one of them. According to the authors, the incomplete figures used in game four have been selected, after presenting several figures to a sample of people considered as very creative (included in a program for gifted individuals), selecting the four that are most suggestive for them. The only premise, before starting the test, is to ask them to try to draw a picture that no other person could imagine; equally, the answers must give all the ideas necessary to make the drawing interesting.
