Finding mindprint in a work of art is as simple as finding correspondences to any archetypally complete set or sets of about sixteen (twelve to twenty) items, such as pantheons (lists of gods), myth cycles, epics, emblems, lunar mansions, trumps, historic or fictional characters, constellations, heraldic devices, lyrics, or animals.
Researchers should tack characters in art to sets that they are familiar with, and use the mindprint or Furter grid and tables for confirmation (see Mindprint, the subconscious art code, by Edmond Furter, 2014, Lulu.com). Here is a shortcut method to finding the basics of the five layers of the archetypal art code;
 Identify a likely periphery of figures in a roughly elliptical arrangement.
 List the figures in their circular sequence, by any distinctive attribute, such as a posture, season, function, species, or device.
 Provisionally tag the list or the artwork, with likely type numbers, such as 10 Libra for a figure with a staff, 12 or 13 Leo for a feline, 1 or 2 Taurus for a bovid, 5 Aquarius for skin paint or a lurching posture.
 Tag figures ingressed or egressed towards or away from the centre, as 6 Capricornus or 14 Cancer.
 Tag a pregnant figure as 11 Virgo, an adjacent major figure 12 or 13 Leo (usually with an exposed chest), and the adjacent figure on the other side as 10 Libra.
 Infer a clockwise or anticlocwise sequence, and provisionally complete the numbering.
 Count the number of eyes (for example 17), assume the lower even number (for example 16), subtract two (for example 14), skip half of this number (for example 7) between eyes, and draw tentative axes between each pair of likely opposing eyes.
 If three or more axes cross at the same point, find the likely 11 Virgo womb, and a likely 12 or 13 Leo heart, and tentatively redraw errant axes by not using their eyes (unless their eyes also find counterparts across the axial centre).
 If three or more peripheral figures remain unaccounted for, assume a higher equal number (for example 18), and repeat the test with higher numbers.
 Resolve the sequence by splitting up or combining the major doubles (1/2 Taurus, 5 Aquarius20/21, 8/9 Scorpius, 12/13 Leo).
 Complete all the possible axes. Connect the equator from eye to eye (with the two exceptions).
 Find one or two polar markers between 12 Leo and 11 Virgo, or between 5 Aquarius and 4 Pisces, near the equator (far from the centre). These poles are often on limb joints (see statistical percentages on p3, and in the statistics chapter).
 Find a polar marker nearer the axial pole, on or near the 15 Gemini, 14 Cancer, or 13 Leo axis; which is often a limb joint, perhaps a jaw, vertical or horizontal from the axial centre or from one of the galactic poles. Connect this marker to the galactic pole to form a polar triangle (or if there is a marker on the opposite side, connect it to the galactic south pole).
 Mirror the polar triangle on the other side of the ecliptic pole. Note that polar markers are not always present. Infer the inspirational date (spring) from the type that precedes the polar axle (midsummer) by an ideal 90 degrees (approximate, not measured on the distorted grid).
 Apply the set of labels, one to each figure, and the four structural points, in sequence. Note that there is a choice of two labels (/) at the four major types if they are represented by only one figure (typical if the total is only twelve or fourteen);
ta1 / ta2 ar3 pi4 pGs aq5/20 / aq5/21 cp6 sg7 Galx
sc8 / sc9 li10 vi11 pG le12 / le13 cn14 ge15 Gate
The geometric centre is pE, but unlabelled to avoid clutter.
If there are some extra features, on or off the grid, they could be in-between half-types; 3 Cista, 6 Cista Tail, 10 Cista Lid, 14 Cista head
 On a separate page, list the type numbers, with basic distinctive attributes or characters found in the artwork, to compare to other artworks, mindprint statistics, stories, myths or typological sets.
This structure applies to all artworks, in all cultures, in all ages, due to the structure of nature, perception, expression, and thus of cultural media. Mindprint also applies to myths and legends, but it is difficult to extract an inarguable subtext from the typical fluctuation between characters, places, and episodes. In art, the time-slice of the story stands still, and the composition could be verified against the original, or reproductions in catalogues, books and electronic galleries, such as tourist image sites.
See a standard format for writing out a structural art analysis, in another post on http://www.mindprintart.wordpress.com