We can break down the meaning of each icon we select by drawing on the study of signs, symbols and general art theory.
Each icon has multiple characteristics, and there is a range of each characteristic from one extreme to the other.
These characteristics can be filled or unfilled, abstract or realistic, symmetrical or asymmetrical.
We can look at where the icons you have chosen fall on the spectrum for each characteristic. This can tell us about your relationship with each word. Here we have used the icon for 'family' as an example.
Filled or Unfilled?
An icon that is primarily filled with black creates a lot of weight to the image. It draws the eye in, making it a focus of the Psyche-Selfie.
The attention drawn to this icon is reflective of its importance in your subconscious. The more filled the icon is, the more emotional weight and gravitas the concept it represents has in your Happy Place.
In contrast, an icon that is less filled but more line based results in a greater lightness in the image. This implies the concept represented holds less weight in your subconscious.
Abstract or Realistic?
The more realistic the icon is, the more centered in reality the concept is that the icon represents.
This might mean that the concept is something that you already have, or something that is attainable.
Whereas, the more abstract the icon, the less centered in reality the concept is that the icon represents. This implies that it is something that is more aspirational, desirable and perhaps something that you strive for.
Symmetrical or Asymmetrical?
A symmetrical icon suggests that the concept represented is in a state of balance. This might mean that the concept is harmonious or has a stabilising effect on you.
Whereas, if the icon selected is asymmetrical, this can represent an imbalance in the concept. This is neither positive nor negative, but rather might just mean that it needs readjustment, whether it be more or less of it.
Reference for study of signs, symbols and general art theory
Asta Sutton. Art and the unconscious : a semiotic case study of the painting process. Finland: University of Lapland; 2004. Available here: https://core.ac.uk/display/30083929
Carl Jung. The Archetypes and the Collective Unconscious 2nd edition. UK: Routledge; 1991.
Visualogical has provided all analysis, references and source material