Psychological test: House-Tree-Person. How to decipher it correctly?

Psychological test is a tool that helps specialists understand the state of the psyche of an adult or child. The most simple method testing is considered an ordinary drawing. If you know how to decipher it correctly, you can find out about all the fears and problems of the person who drew it.

Psychological test based on drawings - house, tree, person: decoding with interpretation for children

Psychological test on drawings for children

• If you want to find out how your baby really feels, then ask him to draw a house, a tree, a person, and then carefully examine the drawing, paying attention to all, even the smallest details. The first thing you should pay attention to is how hard your little one presses the pencil when creating her masterpiece. If the lines are weakly expressed and barely noticeable, then this indicates that you are growing up a timid and somewhere passive person who is trying to be invisible.
• It is also a bad sign if the child uses an elastic band very often. This indicates uncertainty and excessive anxiety. If a son or daughter draws with strong pressure, this indicates that they are quite tense. In addition, you must pay attention to what colors the picture is made of. The ideal option is to use pastel colors.
• Typically, this indicates that you have been able to develop a personality that lives in harmony with its environment. But still remember, so that the moral state of the children remains the same, it is extremely important for them to feel your love, and it will be better if you show it tactilely. To do this, it will be enough to hug and kiss your child a couple of times a day.

Decoding the colors of the picture

Interpretation of the colors of the picture:

• Red. This color scheme should not alarm you as it is most often used by open and restless children. Yes, sometimes they may disobey or even act out, but this speaks more about individual characteristics rather than mental disorders.
• Blue. Most often this color scheme They prefer calm, balanced children who sometimes like to be alone with themselves.
• Green. This color scheme should alert young parents as it indicates that your baby lacks attention. If you do not try to correct this state of affairs, then with a high probability we can say that your child will grow up withdrawn and will be afraid to trust people.
• Yellow. The predominance of such a color scheme indicates that a dreamy person is growing in your home, who looks at the world around him through rose-colored glasses.
• Dark shades(black, brown, gray). The use of such a color scheme indicates that your child has quite serious psychological problems, which without proper correction can turn into a rather severe depressive state.

Decoding the location of the house

• Another criterion that you must pay attention to is the placement of the house, tree and person in the drawing. If the child drew the figures you suggested as very large and cumbersome, this indicates that your baby’s anxiety is quite high, and he cannot relax even when he knows for sure that nothing threatens him. True, in this case there is one exception to the rule. If it grows in your house hyperactive child, then such an arrangement of figures on a piece of paper can be considered quite normal.
• If the house, tree and person are located at the very top of the leaf (as a rule, the lower part remains completely clean), then this indicates that you raised a child with very high self-esteem. In the future, such a child may have problems at home, in kindergarten or at school. Due to the fact that the son will consider himself better than everyone else, he will not be able to find true friends and, worst of all, will not be able to fit into the children's team.
• A negative signal is very small figures located at the bottom of the sheet. Most often, children who have psychological problems draw this way. It is likely that your child is depressed or has very low self-esteem. Ideally, all the details of the drawing should be drawn as proportionally as possible and in no case overlap each other.

• Well then last stage swipe general analysis what your child drew. Be sure to pay attention to how he depicted the person and where he placed him. If a person comes out very sad and very small compared to other objects, then this indicates that your child is very lonely and feels unnecessary to anyone. It is likely that you simply spend little time with your child, and in his subconscious there is an opinion that he is not that important to you.
• Also a bad signal is the complete absence of facial expressions in a person. This suggests that your baby has a rather poor emotional state, indicating terrible moral well-being. As for the house, it should also be as realistic as possible. Of course, Small child It is unlikely that he will be able to draw an ideal home, but still, because he does this, you can understand how comfortable he feels in the family. So, if the house turns out to be very small and located as if far away, then it is likely that your baby feels rejected or alien.
• If the house has normal dimensions and is placed proportionally in the picture, then this indicates family harmony and openness of your baby. Also a good signal is the presence of doors and windows at the painted home. A reason to be wary is a tree that seems to be hiding behind the house. Most often, children of very strict and dominant parents who try to control every step of their child arrange their vegetation this way.

Psychological test based on drawings - house, tree, person: decoding with interpretation for adults

Psychological test based on drawings for adults

As you probably already understood, a drawing can tell a lot about a person. True, in the case of adults, more attention should be paid to the small details of the resulting picture. Unlike children, they can already control their emotions and very often try to deceive a specialist by using the right color scheme or drawing with the right pressure. Therefore, the first thing you should pay attention to is whether there is a wisp of smoke above the house.

If a very thin stream comes from the chimney, then this shows that the person is emotionally exhausted and does not feel warmth and care from his loved ones. Too thick smoke coming from the chimney indicates that a person is under very strong moral stress. And the thicker and darker the smoke coming out, the worse it is internal state person taking the test.

Deciphering the house

Decoding the drawing of the house

• If a person draws a beautiful, proportional house that has all the windows and doors, then this indicates that he is in harmony with himself and with those around him. If the building is depicted without windows and doors, this is a sign of a closed person, which is most often provoked by quite strong problems at work. In this way he is trying to show that he is not going to let anyone into his life. Also a bad signal is the presence of steps or stairs that are not located near the door or window, but simply near a blank wall. As a rule, this is how a long-standing conflict manifests itself, which requires an immediate solution.

• Also pay attention to how the walls of the home are drawn. If they are clear and clearly visible, then the person does not have any special problems. But if the lines denoting the outline of the house are very thin, almost transparent, then the person feels some kind of danger and is afraid that he will not be able to protect himself from it. Open doors at home indicate that a person has no problems either at home or at work, and is always happy to have guests. But if the doors are too large and occupy most of the wall, then this indicates that the man or woman has problems with self-esteem and this moment they are trying to show their importance and indispensability.

• Another negative sign is the lock on the door, especially if it is very large. As a rule, in this way a person’s subconscious shows his hostility, closedness and aggressiveness. Windows can also tell a lot about a person. If they are of normal size and there are flowers on them, then this indicates that the person does not have any psychological pressures interfering with his life. If the windows are almost completely covered with curtains, it means that it is difficult for a person to interact with the outside world, and he is trying to isolate himself a little from it.

Decoding a drawing of a person

Decoding a drawing of a person

• Most often, the presence of problems in men and women is indicated by the size of the person they depict in the picture. The smaller and more noticeable it is, the more insecure the person being tested feels. In this case, proportions are also very important. After all, if, for example, the depicted little man has a very big head, then this indicates a desire to dominate others. A too small head shows that a person has problems with intellectual development, and he is very worried about this. If a man or woman does not like criticism and tries to distance themselves from unpleasant words, then the picture will depict a man without ears.

• The size of the neck can also tell about internal psychological problems. A wide, but at the same time short neck indicates that males and females have character traits that they do not like, but they are trying to get rid of them. A neck that is too long and thin is usually drawn by people who are prone to aggressive behavior who cannot keep their emotions under control. And, of course, don’t forget to pay attention to the person’s arms and legs. If they are drawn as clearly as possible, with bright lines, then this indicates that in front of you there is a man or woman who stands firmly on the ground and is not afraid of any difficulties arising.

• As for the eyes, they also play a huge role in deciphering the drawing. If a person draws very small eyes, this indicates that he is too immersed in his internal problems. Availability too big eyes indicates the rudeness and assertiveness of the person being tested. But beautiful and fluffy eyelashes reveal a flirtatious person, loving attention of the opposite sex.

Decoding the tree drawing

Decoding the tree drawing

• The more symmetrical and beautiful the tree is depicted in the picture, the more harmonious a person feels. If somehow part of the tree is larger or smaller than necessary, then this indicates the presence of psychological problems. For example, if a person draws a small tree and very massive roots, then this is a sure sign that he has some problems that he is trying to hide from strangers.

• Very often in a picture you can see a tree whose leaves are poorly drawn, but at the same time the trunk is very brightly painted. This state of affairs indicates that the test taker is not afraid to face difficulties. Branches hanging down seem to tell us that a person has given up and is not even trying to deal with the problems that arise on his life’s path.

• Pay special attention to the lines used to draw the tree. If all the lines are clear, smooth and are not interrupted anywhere, then we can definitely say that in front of you is an individual who is not afraid of life’s difficulties and always goes towards his goals. If the lines are crooked and periodically interrupted, then this is evidence of indecision, cowardice and inhibition.

Description of the drawing according to the method of house, tree, person: how to draw and draw correctly?

Recommendations for taking the test

• If you decide to do something like this psychological test For your child or just one of the adult family members, remember that in order to get the most accurate result, you need to give the person complete freedom of thought. You have no right to tell him how to draw this or that part of the drawing. It is also strictly forbidden to push the test taker to choose a certain color. The entire time the person is completing the task, you will have to sit silently on the sidelines. And it will be even better if you leave the room altogether for a while. This way you will allow the person to be alone with you.

• Also be sure to take care of the place where the testing will take place. You must create conditions in which the person will be as comfortable as possible. This means that on the table on which he will draw there should be no objects that distract attention. Ideally, only a piece of paper, pencils and an eraser should be on the table. If a child is being tested, then in addition to the above-mentioned things, you can also place markers and paints on the table.

• With their help, the baby will be able to reveal his inner world as well as possible. As for drawing, there are no clear rules. You just have to give the person a task, and he must decide for himself where he will start creating the drawing. All that will be required of you in this situation is to silently observe and wait patiently for him to finish.

Drawing of an adult man

Drawing of a child

While the person is being tested, you will need to record:

1. His reaction to the task
2. How quickly did he figure out what was required of him?
3. How quickly does a test taker decide on a color?
4. How long did it take for the person to complete the task?

After the drawing is ready, you can ask your child or adult questions that will help you get the most accurate result. But remember, you must do this in the most relaxed manner possible. In general, a conversation with a child is best done in a playful way. After all, the more relaxed he is, the more reliable information his subconscious will give out.

Test questions:

• Who did you depict in the drawing, boy or girl (man or woman)?
• Is it you or your relative?
• Do you like what you drew?
• What kind of tree did you draw?
• Why do you like it so much?
• Is this your house?
• What is your home made of?

In principle, the questions can be different, as long as they are relevant to the picture. For example, during a post-drawing survey, you can ask the test taker why there are some missing elements in his drawing. significant details(leaves on a tree, windows and doors on a house, or ears on a head). Also you should be interested not entirely correct location elements of the picture.

For example, obliquely growing trees or very skewed walls of a house. A person must definitely try to explain why he sees his world in a slightly distorted form. After you find out all the details that interest you, you can begin the final analysis of what the person has drawn.

Video: Psychoriunok. An example of analysis of the drawing test “House Tree Man”

Current page: 3 (book has 9 pages total) [available reading passage: 7 pages]

Test “House – Tree – Person”

This method, proposed by J. Book in 1948, is one of the most popular used for individual personality assessment and identifying the degree of its adaptation.

The “House – Tree – Person” test is intended for both adults and children. The depiction of these three objects gives a person greater freedom to express himself through drawing, and also reveals own attitude to life and to the world in general. A house, a tree and a person are what children most often draw. In adults, this test reveals many different emotions.

It is believed that the interaction between the house, the tree and the person reflected in the drawing represents what is really happening in our lives.

Exercise

Provide the subject with a piece of paper, a simple, soft pencil and a box of colored pencils and ask them to draw (and, if desired, color) a house, a tree and a person. After the drawing is ready, conduct a survey on the completed task and only then interpret the drawing.

The order in which the task is completed plays an important role in the interpretation of the drawing. For example: if a tree is drawn first, it means great importance has vital energy for a person. And if a house is drawn first, then the main thing in the life of the author of the drawing is his personal safety, family relationships, success. True, sometimes this means radically opposite concepts.

Test indicators

(an indicator of psychomotor tone)

Pressure

Weak pressure – passivity, depression. Strong pressure – impulsiveness. Very strong pressure – hyperactivity, sometimes aggressiveness.

Placement in the picture

In the center of the sheet there is straightforwardness and vulnerability.

Above the center of the sheet - unattainability of the goal, satisfaction in fantasies.

Below the center of the sheet - depression and anxiety.

Placing a picture on the left side of the sheet is an emphasis on the past.

Placing a picture on the right side of the sheet is an emphasis on the future.

Placing a picture on the edge of a sheet means a feeling of uncertainty, danger.

House

House perspective

The house, in perspective, viewed from above, is a negation of the domestic situation.

House, in perspective, bottom view - the need for a home, in some cases what is desired seems unattainable.

Home away - a feeling of rejection.

Home close by – openness, a feeling of warmth and hospitality.

The house is located in the upper left corner of the sheet - a tendency to avoid new experiences, insecurity.

The house is located in the upper right corner of the sheet - a tendency to avoid unpleasant feelings associated with overestimating the future.

The house seems to be suspended in space - a tendency to reject the earthly aspects of life.

General form

It is considered normal if the image of a house has at least one door, one window, one wall, roof and chimney.

The house is very small (compared to the tree and man in the picture) - the home environment, and sometimes the marriage does not meet the requirements of the person.

The house is very large (compared to the tree and man in the picture) - nostalgia.

A destroyed house means loss of home environment, rejection of home.

A house drawn upside down means a reluctance to communicate, a desire for isolation.

The house is transparent, similar to an aquarium - the desire to demonstrate oneself, limiting itself only to visual contact.

Instead of a house, other buildings are drawn - aggression directed against the actual owner.

Instead of a house, its plan is drawn (usually a top view) - a serious conflict.

Walls

Wall in one-dimensional perspective (only one is shown side) – a tendency towards alienation and opposition.

The location of the back wall of the house is unusual - conscious attempts at self-control, sometimes strong hostile tendencies.

The contour of the back wall is much thicker (brighter) compared to other details - the desire not to lose contact with reality.

Transparent walls are an unconscious attraction, sometimes the need to control the situation as much as possible.

Doors

The doors are very large - excessive dependence on others, in some cases the desire to surprise with your sociability.

The doors are very small - there is a reluctance to open and let you into your inner space.

Open doors (if the house is residential) means a strong need for warmth from the outside, sometimes a demonstration of one’s openness.

The doors are closed, with a huge lock - secrecy, protection, in some cases, hostility and suspiciousness.

Side doors - desire for privacy, alienation, rejection of reality.

There are no doors - isolation, difficulties in communication.

Window

Open windows - the need for heat, straightness.

The windows are open, without curtains - openness in your feelings.

The windows are closed, with curtains - the significance of interaction with the environment, isolation.

Many windows – readiness for contacts.

Windows without glass - hostility, alienation.

Roof

The roof means the realm of fantasy, respectively: a very large roof - the desire to find satisfaction in fantasies, a flat roof indicates an underdeveloped imagination.

Chimney pipe

The absence of a pipe means the absence or lack of heat in the mental sphere.

The pipe is hidden, almost invisible - reluctance to deal with emotional impacts.

An oblique position of the pipe in relation to the roof is considered normal for a child; for adults means significant regression.

Additional details and parts of the house

Steps leading into a blank wall (without doors) - inaccessibility, a reflection of a conflict situation.

Closed shutters are protection.

Drainpipe - enhanced protection, sometimes suspiciousness and suspiciousness.

Additions to the house drawing

Various additions indicate the felt need for additional ordering of one’s surrounding space.

The sun is a source of heat and strength.

Trees, bushes surrounding the house - a desire to protect oneself with protective barriers. Sometimes trees and bushes symbolize different people.

Bushes randomly located near the house are a sign of alarm.

A fence around the house is a need for emotional protection.

The path leading to the house is very long - accessibility restrictions.

The path near the house is narrow, but wide at the other end - superficial friendliness.

The smoke from the chimney is thick - significant internal tension.

Smoke drawn with a thin line represents a feeling of lack of warmth at home.

Color

After the drawing of the house is drawn with a simple pencil, the subject can, if he wishes, color it with colored pencils. It is considered normal if no less than two and no more than five colors are used. If a subject paints a house with seven or eight colors, he is at best labile, and if he uses only one color, he experiences fear of emotional arousal. The longer and more uncertainly the client selects colors, the greater the likelihood of personality disorders.

Below is a list of colors most often used when painting a house.

Red – great sensitivity, need for warmth from the environment.

Orange – sensitivity and hostility.

Yellow – strong hostility.

Green – the desire to protect yourself from danger.

Purple – the need to gain power.

Black – timidity, in some cases shyness.

Tree

Image Location

If the drawn tree is on the right side of the sheet, this means that the person has a strong need to rely on someone else's authority.

The location of the tree on the left side of the sheet indicates attachment to the mother and the past.

A tree drawn strictly in the center speaks of the need to systematize your life experience, and also indicates something especially significant to that person.

Drawing dimensions

A small image of a tree indicates that a person cannot express himself in life.

Tree image large sizes indicates the inner freedom of a person.

Characteristic details of the drawing

The presence of fruits on a tree is indicative of people striving for effective activities and achieving goals.

If a person draws a stump instead of a tree, this indicates his contradictory character.

A broken tree means a shock experienced.

If the top of a tree is not completed, the person has big unfinished plans.

A tree forked from the trunk is a sign of very strong family ties with sisters and brothers, which are most often broken or lost. The twins draw the same trees.

A branch instead of a tree indicates human infantilism.

Drooping branches mean low vitality and reluctance to make any efforts to overcome unfavorable life situations.

Branches going up indicate an optimistic attitude and enthusiasm, sometimes a desire for power.

Branches drawn in different directions mean a search for expanding contacts and self-affirmation.

A trunk without branches is evidence of difficulties in establishing contacts.

Foliage image

Leaves symbolize the ability to establish contacts with the outside world, as well as the psychological security of a person in these contacts.

If the foliage of a tree is depicted as a wide fan, then this indicates good human interaction with the outside world and contact.

Sparse and stunted foliage, on the contrary, indicates that contact with outside world very weak.

The sharp-shaped leaves signify a person’s desire to protect himself from danger.

Empty closed foliage, similar to an empty circle, speaks of unexpressed aggressiveness.

Drawn falling or fallen leaves indicate disappointment in life, a feeling of loneliness.

Leaves pointing upward signify the desire for leadership and the presence of a goal.

Leaves in large quantities, carefully drawn, indicate pedantry, but at the same time, the sensitivity and aesthetic need of man.

Circles in the foliage - a feeling of disappointment, loneliness, a desire to find peace.

Foliage drawn with curved lines represents open acceptance of the surrounding world and receptivity.

Foliage in the form of a pattern - charm, friendliness, goodwill.

Net foliage - the desire to get away from problems.

Tree trunk

Cut off from the earth - lack of contact with the outside world.

Expanding downwards - searching for a stable and stable position.

Tapering downwards - isolation and the desire to strengthen one’s self.

The traced bark on the trunk indicates caution and the need for protection.

A trunk drawn from one line is a reluctance to look at things realistically.

The trunk, associated with branches and foliage, speaks of the desire to preserve one’s inner peace and good intellect.

A trunk tilted to the left means a person gives in to aggression.

A trunk tilted to the right means a person is looking for support.

The trunk seems to grow out of the circle - the drawer feels protected only in his surroundings.

The image on the trunk of the hollow indicates a previous illness or injury.

Roots

The roots of a tree indicate the environment from which a person came and testifies to his curiosity.

The roots are smaller than the trunk - the desire to see what interests or is hidden.

Roots equal in size to the size of the trunk are a stronger curiosity than just seeing what interests you.

Very long roots indicate excessive curiosity.

Human

Pose, angle

Walking or running - creative orientation, in some cases the desire to hide from someone.

Engaged in some kind of work – high activity.

Sitting or lying down – passivity.

From the back – conflict, sometimes negativism.

The absolute profile is detachment and isolation.

Head in profile, body in front - anxiety, sometimes the need for communication.

Image

Sometimes what is depicted is not some abstract person or the author of the drawing himself (as is often the case with children drawing themselves), but some character. Some approximate interpretations of such images can be given.

The military man in some cases expresses aggressiveness.

A clown or buffoon indicates low self-esteem.

The king and prince speak of a high level of aspirations.

Baba Yaga is a sign of open hostility towards women.

An old man, an old woman, a beggar mean depression.

An alien, a robot talk about a feeling of loneliness.

Head

A large head means a high level of intelligence.

A small head means low intelligence.

No head – hyperactivity, impulsiveness.

Eyes

Small eyes - self-absorption.

Protruding eyes mean rudeness, sometimes callousness.

Closed eyes - the desire to avoid unpleasant visual contacts.

Empty eyes – asthenia, impulsiveness, sometimes fear.

Blackened, shaded eyes - fears.

Eyeliner, with eyelashes - demonstrativeness.

The absence of eyes is evidence of hyperactivity and high impulsiveness.

The nose is prominent, with a hump - contempt, irony. A particularly large nose means dissatisfaction with one’s appearance.

Well-drawn nostrils express aggression.

The mouth is absent or very small – asthenia, negativism.

A sunken mouth means passivity.

The mouth is distorted - negativism, sometimes a negative attitude towards testing.

Very large lips, boldly outlined - the significance of the sexual sphere.

A mouth with well-drawn teeth is aggression.

Ears are very large - suspicious.

Small ears - the desire not to hear and not perceive criticism.

Hair

Hair is heavily shaded - anxiety.

Both the hair and the hairstyle are carefully drawn - demonstrative.

Figure

Very plump - in some cases, dissatisfaction with one’s appearance.

Long, thin – asthenia, sometimes introversion.

Ugly – negativism, impulsiveness.

The figure is naked or visible through clothing - increased interest in the sexual sphere.

A figure bent over by the wind represents a need for love and care.

A figure with wounds and scars is a neurotic state.

A figure with a tattoo is negativism.

Hands

Lack of hands – impulsiveness, impaired communication.

Hands located close to the body - tension, introversion.

Behind your back, crossed on your chest, in your pockets, resting on your sides - reluctance to communicate, in some cases hostility.

Hands cover the genital area - a tendency to control one's sexual impulses.

Hands out to the sides - sociability.

Arms are long and muscular - the desire for physical strength and courage.

Arms are long and weak - dependence, need for care.

Arms are very short – lack of aspirations, feeling of inadequacy.

The hands are absent or very short – lack of communication.

Very large hands - the need for communication.

Hands are blackened – conflict.

Big fist, sharp nails - aggressiveness.

Thumbs – rudeness, aggression.

Long fingers - hidden aggression.

Legs

Legs spread wide apart - need for support.

Legs tightly pressed together – introversion.

No feet - passivity.

Feet are very small - ineptitude in social relations.

The feet are very large - they need support.

Additional details to the drawing of a person

In a person’s hands there is a flag, a toy, etc. – infantility (in children’s drawings this is the norm).

A person has a weapon in his hands, a spear, a knife, an ax, a stick - aggressiveness.

A person holds a cigarette, a bottle of vodka, a glass, etc. in his hands – negativism, in some cases asociality.

Detailed clothing (pockets, hat, shoes, jewelry, trim, etc.) is demonstrative.

Numerous buttons – rigidity, in some cases closedness.

Analysis of drawings for the test “House – Tree – Man”

Nikita, 6 years old

Six-year-old Nikita was brought for consultation by his grandmother due to sleep disturbances and fear of the dark. The boy is very friendly, gentle, and physically well developed.

Nikita used bright colors, and therefore his drawing (Fig. 17) makes a favorable impression. But if you look more closely, you will notice some features of the boy’s not entirely favorable psychological state, which are reflected in the drawing.

Rice. 17

So, a house without a chimney shows that there is no heat in the house and the boy does not have enough of it. The closed door and curtained windows indicate Nikita's secretive nature. A tree bent to the right, towards the house, means that the boy is looking for warmth from his family and needs support. A tree trunk expanding downward indicates a search for a stable position in life. A tree with bare branches, placed on the left side of the sheet, indicates the boy’s attachment to the past and his mother (Nikita’s mother died two years ago). Nikita drew himself very similar, although without ears, which indicates a reluctance to hear anything. Widely spaced legs symbolize the need for support.

Of course, this is not all that Nikita’s drawing told, but in general outline Still, a lot has been revealed about him. We learned about his spiritual and psychological state, about his character. It is clear that the boy, having experienced such severe mental trauma, now very much needs the support and support of people close to him.

Olga, 28 years old

Olga came to the consultation in a state of deep stress. She broke up with a man she really liked. Felt lost because of my heavy weight(125 kg). At the request to make a drawing “House – Tree – Man,” Olga quickly sketched the drawing (Fig. 18), which indicates the impulsiveness and instability of her character. A house without doors, windows with curtains indicate a closed person, the absence of a chimney indicates a lack of heat in the house. Olga painted herself with long eyelashes, thereby demonstrating her importance, but with her hands hidden behind her back, which means her reluctance to contact the outside world. All this only emphasized the degree of her stressful state. After the consultation, Olga made a firm decision to lose weight and change her appearance, and start a new life.

Rice. 18

Vladimir, 24 years old

Vladimir is a handsome, tall, strong guy. I had been in a prolonged depression for a long time. For some time now he was haunted by personal failures. I dreamed of meeting a girl, but had no luck. In Vladimir’s behavior and speech one could feel uncertainty and depression, although he tried to cheer up. After being asked to make a drawing on a given topic, I thought for a while.

Rice. 19

The house in Vladimir’s drawing (Fig. 19) has a transparent, large roof, and since the roof is the sphere of our fantasies, it is clear that the young man is looking for satisfaction in them. The pipe is drawn in the depths of the roof, as if peeking out from behind the back wall of the house, which only emphasizes Vladimir’s reluctance to deal with emotional influences. A thin stream of smoke characterizes the lack of home warmth, and a closed door speaks of a desire for protection, as well as some secrecy of character. The porch of the house emphasizes the generosity of character. In addition, the house is located in the upper left corner of the sheet, and this indicates insecurity and a desire to avoid any experiences. The tree has no branches and is drawn on the right side of the sheet, which means that he is experiencing certain difficulties in making contacts and is looking for support.

A person’s empty eyes, without pupils, indicate certain fears, and small feet characterize ineptitude in social contacts.

Maria, 45 years old

Maria is married. Has a good figure. IN Lately experienced dissatisfaction at work and aggression towards the boss. Her home conditions also did not bring her satisfaction: for many years big family lived in a small apartment. Such a life was very burdensome for Maria; the woman was often in a state of depression and some kind of internal aggression towards the whole world.

Rice. 20

The man depicted by Maria (Fig. 20) is walking towards the house wearing a helmet and holding a gun. Are any comments needed for this drawing? It is clear that negative feelings overwhelm the woman, which is conveyed in the drawing.

Natalya, 13 years old

The girl lives with her grandmother, but is unhappy with this. The grandmother complains that Natasha does not listen to her and strives to spend as much time as possible in front of the mirror and with her friends. She doesn't want to live with her grandmother or her parents. Natalya painted herself walking along the path from her grandmother’s house, which exactly reflects her mood. She is very capricious about the things that are bought for her and strives to wear fashionable things.

Rice. 21

This is clearly visible from the figure (Fig. 21). A fashionable blouse and long eyelashes speak of a desire to please not only yourself, but also those around you. In addition, large, plump lips emphasize her aggressive stance. A house with a closed door, smoke coming from the chimney - a reflection of the heat created by the grandmother in the house and rejected by the girl. In the picture we see the sun, but also clouds - this means that the girl’s mood is constantly darkened by gloomy thoughts. Several trees with lush foliage at once indicate a strong desire for social contacts by the author of the drawing.

Methodology “HOUSE - TREE - PERSON” by J. Book.

Projective methodology for personality research. Proposed by J. Book in 1948. The test is intended for examination of both adults and children, a group examination is possible.

The subject is asked to draw a house, a tree and a person. A detailed survey is then conducted. The author justifies the choice of objects for drawing by the fact that they are familiar to every subject, are the most convenient as objects for drawing, and, finally, stimulate freer verbal statements than other objects.

According to J. Book, each drawing is a kind of self-portrait, the details of which have personal significance.

From the drawing one can judge the affective sphere of a person, his needs, the level of psychosexual development, etc. In addition to using the test as a projective technique, the author demonstrates the ability to determine the level of intellectual development (the rank correlation coefficient with intelligence tests is 0.41-0.75) . Foreign researchers declare the need for additional study of the validity of the technique as a tool for measuring intelligence and personality traits. The test is used in Russia and is included in the Kern-Jerasek method.

Instructions

Material:

* a white sheet of paper, folded in half and thus forming 4 pages measuring 15x21. The first page is intended for recording the date and recording the necessary data concerning the subject, the next three pages are reserved for drawings and, accordingly, are entitled House, Tree, Man;

* post-drawing survey form;

* several simple No. 2 pencils with erasers (pencil No. 2 was chosen because it turned out to more accurately reflect the subject’s motor control, pressure and quality of lines and shading);

* quantitative processing form;

* management.

Individual testing

In individual testing, the researcher places a picture form in front of the subject so that he sees only the second page with the word “Home” located at the top from the subject’s point of view; after which he pronounces the instructions:

“Take one of these pencils. I want you to draw the house as best as you can. You can draw any type of house you want. This is entirely up to you to decide. You can erase what you have drawn as much as you like - it will not affect your grade. You can think about the drawing for as long as you need. just try to draw the house as best as possible.”

If the subject refuses (middle-aged and elderly people do this often), stating that he is not an artist, that when he went to school he was not taught how to draw the way they do now, etc., the researcher must convince the subject that The DDT is not a test of artistic ability; it is not interested in the subject's ability to draw as such. If the subject asks for a ruler or tries to use an object as a ruler, the examiner should tell him that the drawing must be done by hand. This is followed by similar instructions for tasks involving drawings of wood and the human figure.

Record.

While the subject draws the house, tree and person, the researcher must write down each time;

1) the following aspects regarding time: (a) the amount of time that passed from the moment the researcher provided instructions until the moment the subject began drawing; (b) the duration of any pause that occurs during the drawing process (correlating it with the execution of a particular detail); (c) the total time spent by the subject from the moment he was given instructions until he reported that he had completely finished the drawing (for example, at home);

2) the names of the details of the drawings of a house, a tree and a person, in the order in which they were drawn by the subject, numbering them sequentially. Deviations from the sequence of images of details that occur in the work of well-adapted subjects usually turn out to be significant; an accurate recording of such a case is necessary, since failure of the researcher to notice the deviation of the subject may prevent a sufficiently high-quality assessment of the completed drawing as a whole;

3) all spontaneous comments (if possible verbatim) made by the subject in the process of drawing a house, tree and person and correlate each such comment with the sequence of details. The process of drawing these objects may provoke comments that at first glance are completely inappropriate to the objects depicted, which, however, can provide a lot of interesting information about the subject;

4) any emotion (the most insignificant) expressed by the subject during the test and associate this emotional expression with the detail depicted at that moment. The process of drawing often evokes strong emotional manifestations in the subject and these should be recorded.

To take notes more successfully, the researcher must ensure that he can easily observe the drawing process. It was noted that the most convenient position for the researcher is to the left of the right-handed subject and to the right of the subject if he is left-handed. However, in some cases subjects may be very anxious or very suspicious and will hide their drawings, in such cases it is best not to insist that they allow the investigator to observe the drawing process.

To make it easier to record sequences of parts, spontaneous comments, etc., the researcher can use the recording system given below as an example.

House

2. Window with glass on the roof.

3. Roof over porch (main wall) - “I can take the tools and do it much better” (intense laughter).

4. Porch posts.

6. Window, top right, with glass.

7. Window, lower left, with glass.

8. Window, top in the center, with glass.

9. Windows (left and right) on the sides of the door, with glass.

10. Window, top left, with glass.

11. Upper window in the center, with glass.

12. Roof material.

13. Side porch roof and post.

14. “Perhaps this is all that could be drawn, except for the garage.”

15. Foundation.

16. Pause 18 sec.

17. “A Pair of Trees.”

18. Tree on the left, then tree on the right.

19. Road from the side porch.

20. Path from the front entrance.

21. “Let’s allow it here” - bush.

Time - 5 min 13 s

If the task was preceded by a pause, this should be recorded under item 1, and the first drawn detail in this case should be recorded under number 2, etc.

The connection of spontaneous utterances and/or expression of emotions with the details of the drawing is determined by the position of the spontaneous utterance and/or emotional manifestation in the recorded material. For example, if a spontaneous statement or emotion was recorded before a detail, but under one item, then it took place at the time when the subject began to draw this detail. If a comment or emotion was recorded under the same item as the detail, but after it, then it happened later. If, apart from a spontaneous statement or emotion, nothing is recorded in the item, then this happened after the previous detail was completed and before the next one was started.

Post-drawing survey.

After the nonverbal phase of the DDT is completed, the researcher should offer the subject the opportunity to characterize, describe, and interpret the drawn objects and their surroundings, as well as express associations associated with them. He must also take into account the fact that the process of drawing a house, a tree and a person often evokes strong emotional reactions, so that after completing the drawings the subject is likely to verbalize what he could not express before. Obviously, if the subject is less withdrawn and hostile and more intelligent, the second phase of the DDT may be more productive.

The questionnaire, consisting of 64 questions, has a “spiral” structure, the purpose of which is to avoid formalized answers on the part of the subject and prevent the memorization of what he has previously said in connection with a specific drawing. Direct and concrete questions are replaced by more indirect and abstract ones.

PRO is not a strictly limited procedure; the researcher can always continue the survey in a direction that is productive in his opinion. In all cases, he must determine exactly what meaning the stimulus words “House”, “Tree” and “Person” have for the subject.

Post-Picture Survey Form

Part 1. Is it a man or a woman (boy or girl)?

Ch2. How old is he/she?

Ch3. Who is he?

Ch4. Is it your relative, friend or someone else?

Ch5. Who were you thinking about when you were drawing?

Ch6. What is he doing? (and where is he at this time?)

Ch7. What is he thinking about?

Ch8. How does he feel?

Ch9. What does the drawn person make you think about?

Ch10. Who does this person remind you of?

Ch11. Is this person healthy?

Ch12. What exactly in the picture makes such an impression on you?

Ch13. Is this person happy?

Ch14. What exactly in the picture makes such an impression on you?

Ch15. How do you feel towards this person?

Ch16. Do you think this is true for most people? Why?

Ch17. What do you think the weather is like in the picture?

Ch18. Who does this person remind you of? Why

Ch19. What does a person want most? Why?

Ch20. How is this person dressed?

Dr1. What kind of tree is this?

Dr2. Where exactly is this tree located?

Dr3. What is the approximate age of this tree?

Dr4. Is this tree alive?

A. (If the subject believes that the tree is alive)

a) What exactly in the picture confirms that the tree is alive?

b) Does the tree have any dead parts? If so, which one exactly?

c) What, in your opinion, caused the death of the tree?

d) When do you think this happened?

B. (If the subject believes that the tree is dead)

a) What, in your opinion, caused the death of the tree?

b) When do you think this happened?

Dr6. Do you think this tree looks more like a man or a woman?

Dr7. What exactly in the picture confirms your point of view?

Dr8. If there was a person here instead of a tree, which way would he be looking?

Dr9. Does this tree stand alone or in a group of trees?

Dr10. When you look at a drawing of a tree, do you think it is above you, below you, or on the same level as you?

Dr11. What do you think the weather is like in this picture?

Dr12. Is there wind in the picture?

Dr13. Show me which direction the wind blows?

Dr14. Tell us in more detail, what kind of wind is this?

Dr15. If you drew a sun in this picture, where would it be located?

Dr16. Do you think the sun is in the north, east, south or west?

Dr17. What does this tree make you think of?

Dr18. What does it remind you of?

Dr19. Is this tree healthy?

Dr20. What exactly in the picture makes such an impression on you?

Dr21. Is this tree strong?

Dr22. What exactly in the picture makes such an impression on you?

Dr23. Who does this tree remind you of? Why?

Dr24. What does this tree need most? Why?

Dr25. If instead of a bird (another tree or another object in the picture that is not related to the main tree), there was a person, who could it be?

D1. How many floors does this house have?

D 2. Is this house made of brick, wood or something else?

DZ. Is this your home? (if not, whose is it?)

D4. When you painted this house, who did you imagine as its owner?

D5. Would you like this house to be yours? Why?

D6. If this house was yours and you could dispose of it as you want:

a) Which room would you choose for yourself? Why?

b) Who would you like to live with in this house? Why?

D 7. When you look at a drawing of a house, does it seem close or far away?

D8. When you look at a drawing of a house, does it seem to you that it is located above you, below you, or approximately on the same level as you?

D9. What does this house make you think about?

D10. What does it remind you of?

D11. Is this house welcoming, friendly?

D12. What exactly in the picture makes such an impression on you?

D13. Do you think these qualities are common to most homes? Why?

D14. What do you think the weather is like in this picture?

D15. Who does this house make you think of? Why?

D16. What does this house need most? Why?

D17. Where does this chimney lead?

D18. Where does this path lead?

D19. If instead of a tree (a bush, a windmill, or any other object in the picture that is not related to the house itself) there was a person, who could it be?

Upon completion of the post-drawing survey stage, the researcher will have to find out the possible meaning that the presence of unusual, absence of “mandatory” details in the drawings, any unusual proportional, spatial or positional relationships between drawn objects or their fragments may have for the subject.

For example, the researcher should ask the subject about the meaning of unusual features in a drawing of a house, such as broken glass, a leaky roof, a collapsed chimney, etc., scars, broken or dead branches, shadows, etc., in a drawing of a tree. It is generally accepted, for example, that scars on a tree trunk, broken or damaged branches almost invariably symbolize “mental wounds” - a consequence of psychological trauma suffered by the subject in the past; the time when the traumatic episode (episodes) occurred can be determined by the location of the scar on the trunk, taking the base of the trunk (its part closest to the ground) as the period of early childhood, the top of the tree as the present age of the subject, and the distances between them as the intermediate years. For example, if a 30-year-old subject drew a scar at approximately one-third of the trunk's height from its base, then the traumatic episode could conceivably occur at 9-11 years of age. The researcher might ask, “What unusual thing happened to you when you were about 10 years old?” It is assumed that the subject can reflect in the drawing only those events that he himself regards as traumatic, although from an objective point of view completely different situations may turn out to be traumatic. It is believed that the image of a shadow in the figure is of great importance and can represent: 1) a symbolization of the feeling of anxiety experienced by the subject at a conscious level; 2) the presence of a factor that, by its constant presence in the psychological present or in the recent past, probably interferes with normal intellectual performance. It's about about the conscious level, because usually shadows are depicted on the ground, which symbolizes reality. Deterioration of intellectual performance is confirmed by absent-mindedness; the shadow presupposes the subject's awareness of the existence of another element - the sun, which is usually forgotten to be drawn, this, in turn, has a certain qualitative meaning. The researcher needs to pay attention to what surface the shadow falls on: water, earth, snow or ice...

In addition, he must find out the possible meaning of scars or injuries in the person’s drawing.

The researcher should try to get from the subject an explanation for the absence of ordinary details - windows, doors or a chimney in the drawing of the house; branches in a tree drawing; eyes, ears, mouth, feet, etc. in a drawing of a person - if the assumption about the mental retardation of the subject is unfounded.

If some unusual positional relationships of objects are noted in the drawing, then it is necessary to determine what caused this. For example, if a lopsided house, a tree leaning to one side or a tree with a twisted trunk, or a person who appears to be falling are drawn, the researcher should ask the subject to explain the reason for this situation. As mentioned above, in a drawing of a tree, each side has its own temporal meaning (the right is the future, the left is the past), the same, although not so definitely, can be said about the drawing of a House. However, it turned out that this rule does not apply to drawing a person, because - if we talk about drawing a person in profile - a right-hander usually draws a figure facing to the left, and a left-hander usually draws a figure facing to the right.

The investigator should try to determine the reasons for any unusual position of the arms or legs of the person drawn. If a person is drawn in absolute profile (i.e., so that only one side of him is visible, and there is no evidence of the existence of the other), the researcher should ask the subject to describe: 1) the position of the invisible hand, 2) if anything is in this hand, what exactly, 3) what the person drawn with this hand is doing.

There is no time limit for the post-drawing survey. However, if the survey is lengthy and exceeds the length of the formal portion (64 questions and the follow-up survey above), then it may be best to reschedule completion for the next session.

It has been found that it is sometimes very useful to let the subject express his associations regarding the content of the drawings and the ABM.

In conclusion, we can say that the PRO pursues 2 goals: 1) to create favorable conditions so that the subject, by describing and commenting on drawings personifying a home, an existing or once existing object and a living or once living person, can reflect his feelings, relationships, needs etc.; 2) provide the researcher with the opportunity to clarify any unclear aspects of the drawings.

Group testing

All other things being equal, the DFC technique is more productive with individual testing than with group testing. However, it is obvious that this technique has secured a certain position among group tests. As such, it is best used as a screening test to identify subjects within a group who deviate from the average level of personal development and adaptability. In addition, the technique can be used to determine the degree of recovery in the process of group therapy, but from this side it has not yet been sufficiently studied.

Instructions.

Before starting the task, the researcher must ask the subjects to draw the best possible picture of a house, a tree and a person in the order listed and tell them that they can erase what they have drawn as much as they want without fear of penalties, that they can spend as much time as they need, and that every one, as soon as he has finished any drawing, should report it to the investigator, so that he may record the amount of time spent.

In some cases it may be necessary to impose a certain time limit (preferably at least 30 minutes), in which case subjects should be fully informed of this before they begin to draw.

The researcher must show the subjects the drawing form and demonstrate each page for them to complete the corresponding drawing. After this, they can begin completing the task.

Record.

The researcher should record the time used by each subject to complete a particular drawing. While the subjects are busy drawing, the researcher should walk around quietly, observing them, and record instances of emotional manifestations, unusual sequences of details, etc., whenever he notices something similar. Obviously, the observation will not be as complete as with individual examinations.

Post-drawing survey.

The researcher should give each subject an ABM form and ask them to respond in writing to the questions printed on the form.

Interpretation.

The house is old, falling apart - sometimes the subject can express his attitude towards himself in this way.

Home away - a feeling of rejection (rejection).

Home nearby - openness, accessibility and/or a feeling of warmth and hospitality.

The plan of the house (projection from above) instead of the house itself is a serious conflict.

Different buildings - aggression is directed against the actual owner of the house or a rebellion against what the subject considers artificial and cultural standards.

The shutters are closed - the subject is able to adapt in interpersonal relationships.

Steps leading into a blank wall (without doors) are a reflection of a conflict situation that is detrimental to a correct assessment of reality. Inaccessibility of the subject (although he himself may desire free cordial communication).

Walls

The back wall, located unusually, is a conscious attempt at self-control, adaptation to conventions, but at the same time there are strong hostile tendencies.

The outline of the back wall is much brighter (thicker) compared to other details - the subject strives to maintain (not lose) contact with reality.

The wall, the absence of its base, is a weak contact with reality (if the drawing is placed below).

A wall with an accentuated contour of the base - the subject is trying to displace conflicting tendencies, experiencing difficulties and anxiety.

A wall with an accentuated horizontal dimension means poor orientation in time (dominance of the past or future). The subject may be sensitive to environmental pressure.

Wall; the side contour is too thin and inadequate - a premonition (threat) of disaster.

Wall: the contours of the line are too accentuated - a conscious desire to maintain control.

Wall: one-dimensional perspective - only one side is shown. If it is a side wall, there are serious tendencies towards alienation and opposition.

Transparent walls - an unconscious attraction, the need to influence (own, organize) the situation as much as possible.

A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has fewer contacts with reality than is desirable.

Doors

Their absence - the subject experiences difficulties in trying to open up to others (especially in the home circle).

Doors (one or more), back or side - retreat, detachment, avoidance.

Doors are open - the first sign of frankness and achievability.

The doors are open. If the house is residential, this is a strong need for warmth from the outside or a desire to demonstrate accessibility (frankness).

Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.

The doors are very large - excessive dependence on others or the desire to surprise with your social sociability.

The doors are very small - reluctance to let you into your “I”. Feelings of inadequacy, inadequacy, and hesitancy in social situations.

Doors with a huge lock - hostility, suspiciousness, secrecy, defensive tendencies.

The smoke is very thick - significant internal tension (intensity based on smoke density).

Smoke in a thin stream - a feeling of lack of emotional warmth at home.

Window

The first floor is drawn at the end - aversion to interpersonal relationships. Tendency to isolate from reality.

The windows are very open - the subject behaves somewhat cheekily and straightforwardly. Many windows show a readiness for contacts, and the absence of curtains shows a lack of desire to hide one’s feelings.

The windows are closed (curtained). Concern with interaction with the environment (if this is significant for the subject).

Windows without glass - hostility, alienation. The absence of windows on the ground floor means hostility, alienation.

There are no windows on the lower floor, but there are on the upper floor - a gap between real life and fantasy life.

Roof

The roof is a realm of fantasy. The roof and chimney, torn off by the wind, symbolically express the subject's feelings of being commanded, regardless of his own willpower.

The roof, the bold outline, unusual for the drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

The roof, the thin contour of the edge - the experience of weakening fantasy control.

Roof, thick outline of the edge - excessive preoccupation with control over fantasy (its curbing).

A roof that does not fit well with the lower floor is a bad personal organization.

The eaves of the roof, its accentuation with a bright outline or extension beyond the walls, is a highly protective (usually suspicious) installation.

Room

Associations may arise due to:

1) the person living in the room,

2) interpersonal relationships in the room,

3) the purpose of this room (real or attributed to it).

Associations can have a positive or negative emotional connotation.

A room that does not fit on the sheet is the subject’s reluctance to depict certain rooms due to unpleasant associations with them or with their occupant.

The subject chooses the nearest room - suspiciousness.

Bath - performs a sanitary function. If the manner in which the bath is depicted is significant, these functions may be impaired.

Pipe

Absence of a pipe - the subject feels a lack of psychological warmth at home.

The pipe is almost invisible (hidden) - reluctance to deal with emotional influences.

The pipe is drawn obliquely in relation to the roof - the norm for a child; significant regression if found in adults.

Drainpipes - enhanced protection and usually suspiciousness.

Water pipes (or roof drains) - enhanced protective installations (and usually increased suspiciousness).

Add-ons

The transparent, “glass” box symbolizes the experience of putting oneself on display for everyone to see. He is accompanied by a desire to demonstrate himself, but limited only to visual contact.

Instructions for the drawing test "House"

Please draw a house (it should not be an apartment building, it should not be a specific house that belongs to you or your friends).

Testing material requires a sheet of A4 size paper and a pencil. The sheet of paper should be white, not glossy, without any lines or cells. Use a medium soft pencil; You cannot draw with a pen or felt-tip pens.

Questions about the drawing

1. Where is this house located?
2. How many rooms are there in the house?
3. Who lives in it?
4. Where is this house located?
5. What is the most comfortable place in it, and why?
6. Which place is the least comfortable, why?

When we look at windows, we have associations with eyes. If we remember children's drawings, little children's houses are anthropomorphic (the roof is like hair, the windows are like eyes, etc.). According to Freud, if in a dream we see that we are looking for some kind of house or walking inside some kind of building, this is interpreted as that we are looking for ourselves or something inside ourselves. He has a clear identification of man and house.

“My home is my fortress!” - the roof inside the house of those who are not entirely healthy is leaking. This is a natural self-identification.

Doors
The door is communication. Therefore, if the door is located in front, then, as a rule, this person is quite sociable and sociable. But there are subtleties, for example, there is a door in front, but a very high porch leads to it. This is typical for selectively sociable people, with such a tendency to select and check their acquaintances (“I have narrow circle friends and they have all been proven and reliable for a long time”). A narrow porch means that a person forces people who want to get close to him to go through some tests. The applicant for friendship, moving from step to step, takes an exam. Then - a well-designed, detailed porch (can be like a separate house). If a person has anxious attitudes in his contacts, he also draws a path. And if it’s even stronger, it creates a path to the house. Also, how the door is drawn: it may be drawn alarmingly or blackened, there may be a darkened handle or peephole.

If the door in front is better for communication, if on the side there is some half-heartedness, he doesn’t fully want to communicate, and if there is no door at all (“and the door is there, on the back facade”), then it’s the same as if the person is standing with his back to us, isolation, reluctance to make contact.

The door may be disproportionately small or drawn in such a way that it is impossible to enter it.

Drawing tests, since they are projective, can be more in-depth ​

If the road leads past the house, there is low interest in people coming to you. In general, the road is a social desirability. It is necessary to show that the person is sociable.
When there are high windows and a high foundation and a high porch, there is a feeling of some kind of fortress.
A door like a lattice is also an additional protection.

Window
On the one hand, they show us something, like eyes. On the other hand, they talk about the degree of interest in information about the outside world. Therefore, people who are not very inquisitive draw high windows. And large windows are painted by people who are contemplative, observant and want to know more.

Antennas on the roof and huge windows speak of high need in information and knowledge.

If the windows are small or curtained, a person has a need to quickly hide what he wants to hide.

It’s interesting when these curtains are not simple, but when they are super-ornate, with decorations, frills - any decorations speak of hysterical tendencies, a desire to attract attention, to demonstrate and show off.

Flowers on the curtains - the desire to draw attention to what he wants to draw attention to and demonstrate what he wants to demonstrate and hides what he wants to hide.

There are houses that give the impression of being lifeless, emotionally emasculated, and impoverished.

Darkened windows are like a person wearing sunglasses and not wanting their eyes to see. And empty windows mean emotional impoverishment and lack of emotionality.

If the house does not make ends meet and has a hazy and insufficiently constructed image, this will indicate its unclear self-image.

There are windows that also have bars. And here another interpretation of the house arises, rather a correlation with the parental home in which our subject grew up. Because if he grew up like in a prison, he will draw the windows as sash windows, but they look like bars. And with inner freedom he will have problems.

Roof
Any decorations on the roof, be it weather vanes or other things, are often a need to demonstrate one’s intellectual abilities, education and erudition. Because the roof is the head.

The degree of elaboration of the roof: if it is slightly sketched in the expected way - not alarming, not in detail, rather conditionally - this is also not specifically discussed.

And if the roof is well detailed - for example, there are a lot of tiles, we can interpret. Both remind us of how a teenager often draws either a shell or a relief in a non-existent animal. It could be both: a shell on the roof and a fence like a ridge. The shell is protection from pressure from above, and aggression is also directed upward, protection from leading figures.

Tests are tears invisible to the world. Because from the outside it seems that everything is ok. Until you dig it ​

Skylights
A window in the plane of the roof, through which you can see the sky from below, and from above you can look into it.

“Kandinsky-Clerambault syndrome” is a syndrome of made thoughts, a person has the feeling that he is being watched, that his thoughts do not belong to him, but are put into his head by the KGB, a dentist, etc. He is imperatively ordered what he needs to do, where he needs to go, etc. As a rule, they arise in people who were brought up in conditions where every thought had to be learned and everything had to be examined under a microscope. Clinical patients draw transparent houses, which are like in geometry textbooks, where all the edges are visible. And then the feeling that any of his thoughts can be completely read, that he can be seen right through.

Pipes
Water pipes are phallic symbolism. The pipes on the house have a special meaning. Smoke is emotionality, the release of some affects or feelings. Therefore, when there is a chimney, but there is no smoke, there is control, excessive restraint. If the smoke is moderate and normal - ok. And if there is too much smoke - a very strong affective outburst, anger, explosion, irritation, etc. There seems to be more smoke than there should be.

If there is a pipe and it is of normal size, it is normal. If there is a pipe and it’s very brick, it’s alarming, since it could be control over the sexual sphere.

The whole house is pale - the porch, foundation (need for support), dormer (need for control) and chimney are highlighted. It turns out that this is a need for support, an interest in relationships and, in particular, in the sexual sphere.

If a man has a pipe that is too blackened and disproportionate, then this may indicate anxiety, concern regarding this area: this can be the case in adolescents and indicates concern. If an adult draws a naked woman on a drawing of a person and a large pipe, or, on the contrary, he will have a small and inconspicuous, weakly drawn pipe (depending on the energy, strong or weak), there are also problems in the sexual sphere. And sometimes this happens to immature, young people - there is no pipe, because the problem of the sexual sphere is not represented in the head.

First there are irrational prohibitions on sex. And then, growing up, a person rationalizes them using religious things.

Attic
- head, mind. The attic is interpreted in three ways. If they say that there are a lot of unnecessary things, this is repression.

She bakes pies and doesn’t eat herself, she treats her girlfriends - sublimation of needs for sex.

Why can the attic be an unpleasant place? Because there are some nasty rats there, as one test subject said. And then there are a lot of fears (there are ghosts and bats). If the roof is leaking, a person has a feeling that his psyche is not in order. And the third option is when his intellect is impaired: people with disabilities and imbecility say that the attic is empty and there is nothing to do.

On the contrary, for schizoid people prone to daydreaming it will be the most pleasant place. Because this is above the level of everyday life, it is an opportunity to rise above everyday life. And many teenagers, who in this sense are similar to schizoids, also choose the attic.

Most people say that the most pleasant place is the living room. But at the same time, often an unpleasant place is a corridor, a canopy, a place in front of the door - where there are strangers, a passageway, a draft, a lot of dirty shoes and a mess. This means that inside the house there is security, a narrow circle, one’s own, but the outside world is unpleasant, a feeling of hostility, uncertainty and insecurity - everything that does not belong to the outside world.

Just as the roof is the head, the cellar or basement is the sexual sphere. Men often say, for example, that this is an unpleasant place because there is only technology (no feelings, no relationships, only technology). Maybe in adolescence. This is a rather unpleasant moment, because in adolescence there is a combination of emotional and sexual components.

If the favorite place is the kitchen - women who assert themselves in the role of housewife, who like to cook and like to be praised for it - their favorite place is the kitchen. On the contrary, for women on a diet and with anorexia, the kitchen is the most unpleasant place. Men who are smothered by their mother can also say that the kitchen is the most unpleasant place.

Schizophrenics with schizophrenogenic mothers say that the most unpleasant place is in the chimney.

If they say that there are no unpleasant places, this is repressing problems. And he needs to say which place is the least pleasant.

The number of rooms indicates self-esteem and level of aspiration. If there are up to five rooms, this is the norm. If twenty is a lot. This is a problem with reality.

If this house is in the mountains, in the forest, turned so that there is no door, just one room and grandparents live there - minimalism, lack of pretensions, schizoid.

The place where the house is located: if the house is among similar houses - the desire for socialization and to join the team. If the house stands on its own, far from other houses, then this is a desire for some kind of distancing.

A drawing of a house a little provokes people into some kind of magic: the feeling that if you draw it all, you will have it. And people draw more. The second interpretation is that when a house is just drawn like that, you can track who is coming there. But you can see when he's really close. And if you arrange a large area - this is all their territory and thus the house located in the center is even safer.

When they draw a tree, then only their “I” is there. And when it’s home, there are powerful influences from childhood.

For bachelors, the most pleasant childhood is the bedroom, since there is no one there except him.

In order to trust that, for example, if there are big ears, then dependence on the opinions of others, and if there is a hollow in a tree, then psychological trauma, you need to be in the know. Most people tend to discount what is said.

If a man draws himself much more than a woman in a drawing of a person, then the matter may be that he feels insecure with his peers. Very often, children who are not very confident in themselves, who do not know how to communicate with their peers, very often communicate with younger children (if they are bad, they will spread rot and show aggression, if they are good, they will receive satisfaction in the fact that they need him and that he can help, but at the same time, both will assert themselves).

Consider cozy and uncomfortable places

COZY PLACE

• Normally, somewhere near the stove, the living room, where the family gathers. Separate room - upstairs, sometimes an attic room - from there good view, there you can retire, read books...
• If the favorite place is the kitchen - women who assert themselves in the role of housewife, who like to cook and like to be praised for it - their favorite place is the kitchen.
• Veranda, terrace - the border between the house and the outside world, between the outside and the inside. It happens to people who are not comfortable at home and want more freedom. A cozy place outside the home is an attempt at synthesis between external freedom and oneself. It's not bad. But it happens that a person feels bad in the house.
• Attic, attic, second floor - when a self-sufficient person. When he wants to think, be with himself, read, break away from routine - positive traits. Do not touch base problems on the 1st floor.
• Corridor or hallway - negative.
• Bedroom - may mean that a person needs to rest and relax. If it’s related to relationships, then it would be good for the two of us.
• Rocking chair - the desire to relax.
• Sometimes they draw a staircase to the 2nd floor - the person does not know how to communicate.

UNCOMFORTABLE PLACE

Often an unpleasant place is a corridor, a canopy, a place in front of a door - where there are strangers, a passageway, a draft, a lot of dirty shoes and a mess. This means that inside the house there is security, a narrow circle, one’s own, but the outside world is unpleasant, a feeling of hostility, uncertainty and insecurity - everything that does not belong to the outside world.

For women on a diet and with anorexia, the kitchen is the most unpleasant place. Men who are smothered by their mother can also say that the kitchen is the most unpleasant place.

When the attic is interpreted as an uncomfortable place, there may be options:

• non-intellectual, with low education, low mental abilities, “losers” (like “it’s empty there and there’s nothing to do”);
• Repressing unpleasant thoughts, memories, problems. Refusal to work on yourself. Then they say that there is so much stuff thrown in that you could break a leg, all the junk is piled up...;
• When it’s scary there (dark, mice, ghosts) - children’s fears are not processed;

Attic - head, mind. The attic is interpreted in three ways. If they say that there are a lot of unnecessary things, this is repression.

She bakes pies and doesn’t eat herself, she treats her girlfriends - sublimation of needs for sex.

Why can the attic be an unpleasant place? Because there are some nasty rats there, as one test subject said. And then there are a lot of fears (there are ghosts and bats).

Bedroom - if there is an emotional squabble in the family. Guest bedroom - possible problems with casual sex.

BASEMENT, CELLAR

Basement - sexual sphere

This is our bottom. Can be interpreted as the subconscious, but more often it is the sexual sphere. Associated with genealogical problems in women. If this is the case, then you need to specifically ask for more details. If with a ladder, then you can fall - “fallen woman.” Men have a pleasant basement where there is a generator that heats the whole house. It can be bad - an unpleasant place, there is only technology. There are no feelings, no emotions, sex is like acrobatics.

Often - uncomfortable, cold, damp... Trouble with the basement - anti-sexual education of women and men, fears, problems with achieving pleasure.

Men often say, for example, that this is an unpleasant place because there is only technology (no feelings, no relationships, only technology). Maybe in adolescence. This is a rather unpleasant moment, because in adolescence there is a combination of emotional and sexual components.

Test "House-Tree-Person"

"House-Tree-Man" (HTC) is one of the most famous projective techniques personality research. It was proposed by J. Book in 1948. The test is intended for both adults and children. Group examination is possible.

The diagnostic procedure is as follows. The subject is asked to draw a house, a tree and a person. Then a survey is conducted according to the developed plan.

R. Berne, when using the DDH test, asks to depict a tree, a house and a person in one drawing, in one happening scene. The interaction between the house, the tree and the person is believed to represent a visual metaphor. If you put the whole drawing into action, then it is quite possible to notice what is really happening in our lives.

A special way of interpretation may be the order in which the drawing of the house, tree and person is made. If a tree is drawn first, it means that the main thing for a person is vital energy. If the house is drawn first, then safety, success, or, conversely, neglect of these concepts comes first.

House - interpretation of signs

General

The house is old, falling apart - sometimes the subject can express his attitude towards himself in this way.

Home away - a feeling of rejection (rejection).

Home nearby – openness, accessibility and/or a feeling of warmth and hospitality.

The plan of the house (projection from above) instead of the house itself is a serious conflict.

Various buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.

The shutters are closed - the subject is able to adapt in interpersonal relationships.

Steps leading into a blank wall (without doors) are a reflection of a conflict situation that is detrimental to a correct assessment of reality. Inaccessibility of the subject (although he himself may desire free cordial communication).

Walls

The back wall, located unusually, represents conscious attempts at self-control, adaptation to conventions, but at the same time there are strong hostile tendencies.

The outline of the back wall is much brighter (thicker) compared to other details - the subject strives to maintain (not lose) contact with reality.

A wall, the absence of its base - weak contact with reality (if the drawing is placed below).

A wall with an accentuated outline of the base - the subject is trying to displace conflicting tendencies, experiencing difficulties and anxiety.

A wall with an accentuated horizontal dimension means poor orientation in time (dominance of the past or future). The subject may be sensitive to environmental pressure.

Wall: the side contour is too thin and inadequate - a premonition (threat) of disaster.

Wall: the contours of the line are too accentuated - a conscious desire to maintain control.

Wall: one-dimensional perspective - only one side is shown. If it is a side wall, there are serious tendencies towards alienation and opposition.

Transparent walls are an unconscious attraction, the need to influence (own, organize) the situation as much as possible.

A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.

Doors

Their absence means the subject experiences difficulties in trying to open up to others (especially in the home circle).

Doors (one or more), back or side - retreat, detachment, avoidance.

Doors are open - the first sign of frankness and achievability.

The doors are open. If the house is residential, this is a strong need for warmth from the outside or a desire to demonstrate accessibility (frankness).

Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.

The doors are very large - excessive dependence on others or the desire to surprise with your social sociability.

The doors are very small - reluctance to let you into your “I”. Feelings of inadequacy, inadequacy, and hesitancy in social situations.

Doors with a huge lock - hostility, suspiciousness, secrecy, defensive tendencies.

Smoke

The smoke is very thick - significant internal tension (intensity based on smoke density).

Smoke in a thin stream - a feeling of lack of emotional warmth at home.

Window

The first floor is drawn at the end - aversion to interpersonal relationships. Tendency to isolate from reality.

The windows are very open - the subject behaves somewhat cheekily and straightforwardly. Many windows show readiness for contacts, and the absence of curtains shows a lack of desire to hide your feelings.

The windows are closed (curtained). Concern with interaction with the environment (if this is significant for the subject).

Windows without glass - hostility, alienation. The absence of windows on the ground floor means hostility, alienation.

There are no windows on the lower floor, but there are on the upper floor - a gap between real life and fantasy life.

Roof

The roof is a realm of fantasy. The roof and chimney, torn off by the wind, symbolically express the subject's feelings of being commanded, regardless of his own willpower.

The roof, a bold outline, unusual for the drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

The roof, the thin contour of the edge - the experience of weakening fantasy control.

Roof, thick outline of the edge - excessive preoccupation with control over fantasy (its curbing).

A roof that does not fit well with the lower floor is a bad personal organization.

The eaves of the roof, its accentuation with a bright outline or extension beyond the walls, is a highly protective (usually suspicious) installation.

Room

Associations may arise due to:

1) the person living in the room,

2) interpersonal relationships in the room,

3) the purpose of this room (real or attributed to it).

Associations can have a positive or negative emotional connotation.

A room that does not fit on the sheet is the subject’s reluctance to depict certain rooms due to unpleasant associations with them or with their occupant.

The subject chooses the nearest room - suspiciousness.

Bath – performs a sanitary function. If the manner in which the bath is depicted is significant, these functions may be impaired.

Pipe

Absence of a pipe - the subject feels a lack of psychological warmth at home.

The pipe is almost invisible (hidden) - reluctance to deal with emotional influences.

The pipe is drawn obliquely in relation to the roof - the norm for a child; significant regression if found in adults.

Drainpipes - enhanced protection and usually suspicious.

Water pipes (or roof drains) are enhanced protective installations (and usually increased suspiciousness).

Additionally

The transparent, “glass” box symbolizes the experience of putting oneself on display for everyone to see. He is accompanied by a desire to demonstrate himself, but limited only to visual contact.

Trees often symbolize different faces. If they seem to be “hiding” the house, there may be a strong need for dependency with parental dominance.

Bushes sometimes symbolize people. If they are closely surrounding the house, there may be a strong desire to protect themselves with protective barriers.

Bushes are scattered chaotically throughout the space or on both sides of the path - a slight anxiety within the framework of reality and a conscious desire to control it.

A path, good proportions, easily drawn - shows that the individual displays tact and self-control in contacts with others.

The road is very long - reduced availability, often accompanied by the need for more adequate socialization.

The path is very wide at the beginning and narrows greatly at the house - an attempt to disguise the desire to be alone, combined with superficial friendliness.

Weather (what kind of weather is depicted) – reflects the subject’s experiences as a whole associated with the environment. Most likely, the worse, more unpleasant the weather is depicted, the more likely it is that the subject perceives the environment as hostile and constraining.

Color

Common color uses: green - for the roof; brown - for walls; yellow, if used only to depict the light inside the house, thereby depicting night or its approach, expresses the feelings of the subject, namely:

1) the environment is hostile to him,

2) his actions must be hidden from prying eyes.

Number of Colors Used: A well-adjusted, shy, and emotionally uninvolved subject will typically use at least two and no more than five colors. A subject who paints a house with seven or eight colors is, at best, very labile. Anyone who uses only one color is afraid of emotional excitement.

Color selection

The longer, more uncertainly and harder the subject selects colors, the greater the likelihood of having personality disorders.

The color black is shyness, timidity.

The color green is the need to have a sense of security, to protect oneself from danger. This position is not so important when using green for the branches of a tree or the roof of a house.

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power. The color red is the most sensitive. The need for warmth from the environment.

Color, shading 3/4 sheet - lack of control over the expression of emotions.

Hatching that extends beyond the boundaries of the drawing is a tendency toward an impulsive response to additional stimulation. Yellow color - strong signs hostility.

General form

Placing a drawing on the edge of a sheet is a generalized feeling of uncertainty, danger. Often associated with a specific time value:

A) Right side– future, left – past,

b) related to the purpose of the room or its permanent occupant,

c) indicating the specificity of experiences: left-hand side- emotional, right - intellectual.

Perspective

Perspective “above the subject” (look from bottom to top) – a feeling that the subject is rejected, removed, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.

Perspective, the drawing is depicted in the distance - a desire to move away from conventional society. Feeling of isolation, rejection. There is a clear tendency to isolate oneself from one’s surroundings. The desire to reject, not to recognize this drawing or what it symbolizes. Perspective, signs of “loss of perspective” (the individual correctly draws one end of the house, but draws the vertical line of the roof and walls at the other - does not know how to depict depth) - signals the beginning of difficulties in integration, fear of the future (if the vertical side line is on the right) or desire forget the past (line on the left).

Triple perspective (three-dimensional, the subject draws at least four separate walls, on which not even two are in the same plan) - excessive concern with the opinions of others about oneself. The desire to keep in mind (to recognize) all connections, even minor ones, all features.

Placement of the picture

Placing the picture above the center of the sheet - the larger the picture is above the center, the more likely it is that:

1) the subject feels the severity of the struggle and the relative unattainability of the goal;

2) the subject prefers to seek satisfaction in fantasies (internal tension);

3) the subject tends to stay aloof.

Placing the drawing exactly in the center of the sheet is insecurity and rigidity (straightness). The need for careful control to maintain mental balance.

Placing the design below the center of the sheet - the lower the design is relative to the center of the sheet, the more it looks like:

1) the subject feels unsafe and uncomfortable, and this creates a depressive mood in him;

2) the subject feels limited, constrained by reality.

Placing a picture on the left side of the sheet is an emphasis on the past. Impulsiveness.

Placing a picture in the upper left corner of the sheet is a tendency to avoid new experiences. The desire to go into the past or delve into fantasies.

Placing a picture on the right half of the sheet means the subject is inclined to seek pleasure in the intellectual spheres. Controlled behavior. Emphasis on the future.

The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free, overt emotional experiences.

Going beyond the right edge of the sheet is a desire to “escape” into the future in order to get rid of the past. Fear of open, free experiences. The desire to maintain tight control over the situation.

Going beyond the top edge of the sheet is a fixation on thinking and fantasy as sources of pleasure that the subject does not experience in real life.

The contours are very straight - rigidity.

A sketchy outline, used constantly - at best, pettiness, a desire for accuracy, at worst - an indication of the inability to take a clear position.

House drawing analysis diagram

1. Schematic illustration

2. Detailed image

3. Metaphorical image

4. Town house

5. Country house

6. Borrowing from a literary or fairy tale plot

7. Availability of windows and their number

8. Presence of doors

9. Pipe with smoke

10. Window shutters

11. Window size

12. Overall size of the house

13. Presence of a front garden

14. Presence of people near the house and in the house

15. Having a porch

16. The presence of curtains on the windows

17. Availability of plants (quantity)

18. Number of animals

19. The presence of a landscape image (clouds, sun, mountains, etc.)

20. Presence of shading on intensity scale 1,2,3

21. Line thickness on intensity scale 1, 2, 3

22. The door is open

23. The door is closed

Human

Head

Sphere of intelligence (control). Sphere of imagination. A big head is an unconscious emphasis on the belief about the importance of thinking in human activity.

Small head - experience of intellectual inadequacy.

Fuzzy head – shyness, timidity. The head is depicted at the very end - interpersonal conflict.

A large head on a figure of the opposite sex is an imaginary superiority of the opposite sex and its higher social authority.

Neck

An organ symbolizing the connection between the sphere of control (head) and the sphere of drive (body). Thus, this is their focal point.

The neck is emphasized - the need for protective intellectual control.

Excessively large neck - awareness of bodily impulses, trying to control them.

Long thin neck – inhibition, regression.

A thick, short neck is a sign of concessions to one’s weaknesses and desires, an expression of unsuppressed impulse.

Shoulders, their sizes

A sign of physical strength or need for power. Shoulders are excessively large—a feeling of great strength or excessive preoccupation with power and authority.

Shoulders are small – a feeling of low value, insignificance. Shoulders that are too angular are a sign of excessive caution and protection.

Sloping shoulders - despondency, despair, guilt, lack of vitality.

Broad shoulders - strong bodily impulses.

Torso

Symbolizes masculinity.

The body is angular or square - masculinity.

The body is too large - the presence of unsatisfied needs that are acutely aware of the subject.

The torso is abnormally small - a feeling of humiliation, low value.

Face

Facial features include eyes, ears, mouth, nose. This is sensory contact with reality.

The face is emphasized - strong concern about relationships with others, one’s appearance.

The chin is too emphasized - the need to dominate.

The chin is too large - compensation for perceived weakness and indecision.

Ears are too emphasized - auditory hallucinations are possible. Occurs in those who are particularly sensitive to criticism.

Small ears - the desire not to accept any criticism, to drown it out.

Eyes closed or hidden under the brim of a hat - a strong desire to avoid unpleasant visual influences.

The eyes are depicted as empty sockets - a significant desire to avoid visual stimuli. Hostility. Eyes bulging - rudeness, callousness. Small eyes – self-absorption. Eyeliner - rudeness, callousness. Long eyelashes - flirtatiousness, a tendency to seduce, seduce, demonstrate oneself.

Full lips on a man’s face are femininity. The clown's mouth is forced friendliness, inadequate feelings.

The mouth is sunken - passive significance. The nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes.

Nostrils – primitive aggression. The teeth are clearly drawn - aggressiveness. The face is unclear, dull - timidity, shyness. The facial expression is obsequious - insecurity. A face that looks like a mask means caution, secrecy, possible feelings of depersonalization and alienation.

Eyebrows sparse, short ~ – contempt, sophistication.

Hair

A sign of masculinity (bravery, strength, maturity and the desire for it).

Hair heavily shaded - anxiety associated with thinking or imagination.

The hair is not shaded, not painted over, frames the head - the subject is controlled by hostile feelings.

Limbs

Hands are tools for more perfect and sensitive adaptation to the environment, mainly in interpersonal relationships.

Wide arms (arm span) – intense desire for action.

Hands wider at the palm or at the shoulder - insufficient control of actions and impulsiveness.

Arms depicted not together with the body, but separately, extended to the sides - the subject sometimes catches himself in actions or actions that are out of his control.

Hands crossed on the chest - a hostile and suspicious attitude.

Hands behind your back - unwillingness to give in, to compromise (even with friends). The tendency to control the manifestation of aggressive, hostile impulses.

Arms are long and muscular - the subject needs physical strength, dexterity, courage as compensation.

Arms too long - overly ambitious aspirations.

Hands are relaxed and flexible – good adaptability in interpersonal relationships.

Arms tense and pressed to the body - clumsiness, rigidity.

Arms are very short – lack of aspirations along with a feeling of inadequacy.

Hands too large - strong need for better adjustment in social relationships with feelings of inadequacy and a tendency to impulsive behavior.

Lack of hands - a feeling of inadequacy with high intelligence.

Deformation or emphasis of an arm or leg on the left side is a social-role conflict.

Hands are depicted close to the body - tension. Big hands and the man’s legs are rude, callous. Tapering arms and legs are feminine. Long arms - a desire to achieve something, to take possession of something.

Arms are long and weak - dependence, indecisiveness, need for care.

Hands turned to the sides, reaching for something - dependence, desire for love, affection.

Arms extended at the sides - difficulties in social contacts, fear of aggressive impulses.

Strong hands – aggressiveness, energy. Hands are thin, weak - a feeling of insufficiency of what has been achieved.

The hand is like a boxing glove - repressed aggression. Hands behind your back or in your pockets – guilt, self-doubt.

Hands are unclearly outlined - lack of self-confidence in activities and social relationships.

Large hands are a compensation for perceived weakness and guilt. Hands missing female figure.– the maternal figure is perceived as unloving, rejecting, unsupportive.

Fingers are separated (chopped off) - repressed aggression, isolation.

Thumbs – rudeness, callousness, aggression. More than five fingers – aggressiveness, ambition.

Fingers without palms - rudeness, callousness, aggression.

Less than five fingers – dependence, powerlessness. Long fingers - hidden aggression. Fingers clenched into fists - rebellion, protest. Fists pressed to the body - repressed protest. Fists far from the body - open protest. Fingers large, like nails (thorns) - hostility.

The fingers are one-dimensional, surrounded by a loop - conscious efforts against aggressive feelings.

Legs are disproportionately long – a strong need for independence and the desire for it.

Legs too short – feeling of physical or psychological awkwardness.

The drawing began with the feet and legs - timidity. Feet are not depicted - isolation, timidity. Legs wide apart - outright neglect (insubordination, ignoring or insecurity).

Legs of unequal sizes - ambivalence in the desire for independence.

No legs - timidity, isolation. Legs are emphasized - rudeness, callousness. Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.

Feet are disproportionately long – a need for safety. The need to demonstrate masculinity.

Feet are disproportionately small - stiffness, dependence.

Pose

The face is depicted in such a way that the back of the head is visible - a tendency towards isolation.

Head in profile, body in front - anxiety caused social environment and the need for communication.

A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.

A person depicted running means a desire to run away, to hide from someone.

A person with visible imbalances in proportions in relation to the right and left sides is a lack of personal balance.

A person without certain parts of the body indicates rejection, non-recognition of the person as a whole or his missing parts (actually or symbolically depicted).

A person is in a blind flight - panic fears are possible.

A person with a smooth, easy step is good adaptability.

The person is an absolute profile - serious detachment, isolation and oppositional tendencies.

The profile is ambivalent - certain parts of the body are depicted on the other side in relation to the rest, looking in different directions - particularly strong frustration with the desire to get rid of an unpleasant situation.

Unbalanced standing figure – tension.

Dolls - compliance, the experience of dominance of the environment.

Robot instead male figure– depersonalization, feeling of external controlling forces.

Stick figure - can mean prevarication and negativism.

The figure of Baba Yaga is open hostility towards women.

Clown, caricature - a feeling of inferiority characteristic of teenagers. Hostility, self-contempt.

Background. Environment

Clouds – fearful anxiety, fears, depression. Fence for support, contour of the ground - insecurity. The figure of a person in the wind represents the need for love, affection, caring warmth.

The line of the base (earth) is insecurity. It represents the necessary point of reference (support) for constructing the integrity of the drawing and provides stability. The meaning of this line sometimes depends on the quality the subject attaches to it, for example, “the boy is riding thin ice". The base is often drawn under a house or tree, less often - under a person.

The weapon is aggression.

Multifaceted criteria

Broken lines, erased details, omissions, accentuation, shading are areas of conflict.

Buttons, a belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.

Circuit. Pressure. Hatching. Location Few bent lines, many sharp corners– aggressiveness, poor adaptation.

Rounded (rounded) lines – femininity. The combination of confident, bright and light contours is rude and callous.

The outline is dim, unclear - fearfulness, timidity. Energetic, confident touches – perseverance, safety.

Lines of unequal brightness - voltage. Thin extended lines – tension. An unbroken, emphasized contour framing the figure is isolation.

Sketch outline – anxiety, timidity. A circuit break is a sphere of conflict. The line is emphasized - anxiety, insecurity. The sphere of conflicts. Regression (especially in relation to the emphasized detail).

Jagged, uneven lines - insolence, hostility. Confident, strong lines – ambition, zeal.

The bright line is rudeness. Strong pressure – energy, persistence. Great tension.

Light lines – lack of energy. Light pressure – low energy resources, stiffness.

Lines with pressure – aggressiveness, persistence.

Uneven, unequal pressure – impulsiveness, instability, anxiety, insecurity.

Changeable pressure – emotional instability, labile moods.

Stroke length

If the patient is excitable, the strokes are shortened; if not, they are lengthened.

Straight strokes – stubbornness, perseverance, perseverance. Short strokes – impulsive behavior. Rhythmic shading – sensitivity, sympathy, looseness.

Short, sketchy strokes – anxiety, uncertainty. The strokes are angular, constrained - tension, isolation.

Horizontal strokes - emphasizing imagination, femininity, weakness.

Vague, varied, changeable strokes - insecurity, lack of perseverance, perseverance.

Vertical strokes – stubbornness, perseverance, determination, hyperactivity.

Hatching from right to left – introversion, isolation. Shading from left to right - the presence of motivation. Self-shading – aggression, extraversion. Erasures – anxiety, apprehension. Frequent erasures – indecision, dissatisfaction with oneself. Erasing during redrawing (if the redrawing is more perfect) is a good sign.

Erasing with subsequent damage (deterioration) of the drawing is the presence of a strong emotional reaction to the object being drawn or to what it symbolizes for the subject.

Erasing without attempting to redraw (i.e. correct) – internal conflict or a conflict with this detail itself (or with what it symbolizes).

Size and position

Large drawing- expansiveness, tendency to vanity, arrogance.

Small figures – anxiety, emotional dependence, feelings of discomfort and constraint.

A very small figure with a thin outline - stiffness, a sense of one’s own worthlessness and insignificance.

The lack of symmetry is insecurity.

The drawing at the very edge of the sheet is dependence, self-doubt.

A drawing on the entire sheet is a compensatory exaltation of oneself in the imagination.

Details

What is important here is knowledge of them, the ability to operate with them and adapt to specific practical living conditions. The researcher must note the degree of interest of the subject in such things, the degree of realism with which he perceives them; the relative importance he attaches to them; a way to connect these parts together.

Substantial Detail - The absence of significant detail in a drawing of a subject who is now or in the recent past known to be of average or higher intelligence is more likely to indicate intellectual degradation or severe emotional disturbance.

An excess of details - the “inevitability of physicality” (the inability to limit oneself) indicates a forced need to improve the entire situation, an excessive concern for the environment. The nature of the details (significant, unimportant or strange) can serve to more accurately determine the specificity of sensitivity.

Unnecessary duplication of details - the subject most likely does not know how to enter into tactful and flexible contacts with people.

Insufficient detail – tendencies towards isolation. Particularly meticulous detailing - constraint, pedantry.

The psychologist also monitors the behavior of the subject:

Ability to critical assessment drawing when asked to criticize it - criteria for not losing contact with reality;

Accepting the task with minimal protest is a good start, followed by fatigue and interruption of drawing;

Apologizing because of the drawing is a lack of confidence;

As drawing progresses, the pace and productivity decrease - rapid exhaustion.

The name of the picture is extraversion, need and support. Pettiness.

The left half of the picture is emphasized – identification with the female gender.

Draws persistently, despite difficulties - good prognosis, energy.

Resistance, refusal to draw - hiding problems, unwillingness to reveal oneself.

Tree

The interpretation according to K. Koch is based on the provisions of K. Jung (a tree is a symbol standing man). The roots are the collective, the unconscious. Trunk – impulses, instincts, primitive stages. Branches – passivity or opposition to life.

The interpretation of a tree drawing always contains a permanent core (roots, trunk, branches) and ornamental elements (foliage, fruits, landscape). As already noted, K. Koch’s interpretation was aimed mainly at identifying pathological signs and characteristics of mental development. In our opinion, there are a number of contradictions in the interpretation, and there is also the use of concepts that are difficult to specify. For example, in the interpretation of the sign “rounded crown”, “lack of energy”, “drowsiness”, “nodding” and then “gift of observation”, “strong imagination”, “frequent inventor” or “lack of concentration” - what? What reality is behind this concept? Remains unknown. In addition, the interpretation of signs contains excessive use of ordinary definitions. For example: “emptiness”, “pomposity”, “pomposity”, “flat”, “vulgar”, “petty”, “narrow-minded”, “pretentiousness”, “pretense”, “stiffness”, “pretentiousness”, “falseness” and right there - “gift of constructiveness”, “ability for systematics”, “technical talent”; or a combination of “self-discipline”, “self-control”, “good manners” - “pomposity”, “swagger”, “indifference”, “indifference”.

We would like to point out that when communicating with normal people in the process of psychological counseling, it is hardly permissible to pronounce such epithets in their address.

The earth rises to the right edge of the picture - fervor, enthusiasm.

The earth sinks to the right edge of the sheet - loss of strength, lack of aspirations.

Roots

The roots are smaller than the trunk - a desire for something hidden, closed. The roots are equal to the trunk - a stronger curiosity that already poses a problem.

Roots larger than the trunk - intense curiosity, which can cause anxiety.

The roots are indicated by a line - childish behavior regarding what is kept secret.

The roots in the form of two lines are the ability to distinguish and prudence in assessing the real; different shape These roots may be associated with the desire to live, suppress or express certain tendencies in an unfamiliar circle or close environment.

Symmetry is the desire to appear in harmony with the outside world. Marked tendency to restrain aggressiveness. Hesitation in choosing a position in relation to feelings, ambivalence, moral problems.

The arrangement on the sheet is ambiguous - the relationship to the past, to what the drawing depicts, i.e. to your action. Double desire: independence and protection within the environment. The central position is the desire to find agreement and balance with others. Indicates the need for rigid and rigorous systematization based on habits.

Arrangement from left to right - increases focus on the outside world, on the future. The need to rely on authority; seeking agreement with the outside world; ambition, the desire to impose oneself on others, a feeling of abandonment; fluctuations in behavior are possible.

Foliage shape

Round crown – exaltation, emotionality. Circles in foliage - the search for soothing and rewarding sensations, feelings of abandonment and disappointment.

Branches drooping - loss of courage, refusal of effort. Branches upward - enthusiasm, impulse, desire for power. Branches in different directions - search for self-affirmation, contacts, self-dispersal. Fussiness, sensitivity to the environment, lack of opposition to it.

Foliage-mesh, more or less dense - greater or less dexterity in avoiding problematic situations.

Foliage of curved lines - receptivity, open acceptance of the environment.

Open and closed foliage in one picture - a search for objectivity.

Closed foliage - protecting your inner world in a childish way.

Closed dense foliage is hidden aggressiveness. Details of foliage not related to the whole - insignificant details are taken as a characteristic of the phenomenon as a whole.

The branches emerge from one area on the trunk - a child’s search for protection, the norm for a seven-year-old child.

The branches are drawn with one line - an escape from the troubles of reality, its transformation and embellishment.

Thick branches are a good discernment of reality. Loop leaves - prefers to use charm. Palma - the desire to change places. Mesh foliage - escape from unpleasant sensations. Foliage as a pattern - femininity, friendliness, charm. Weeping willow– lack of energy, desire for solid support and search for positive contacts; return to the past and childhood experiences; difficulties in making decisions.

Blackening, shading - tension, anxiety.

Trunk

Shaded trunk - internal anxiety, suspicion, fear of abandonment; hidden aggressiveness.

The trunk is in the shape of a broken dome - the desire to be like the mother, to do everything like her, or the desire to be like the father, to measure strength with him, a reflection of failures.

A one-line trunk is a refusal to look at things realistically.

The trunk is drawn with thin lines, the crown with thick ones - it can assert itself and act freely.

Foliage with thin lines - subtle sensitivity, suggestibility.

Trunk with lines with pressure - determination, activity, productivity.

The lines of the trunk are straight - dexterity, resourcefulness, does not dwell on disturbing facts.

The trunk lines are crooked - activity is inhibited by anxiety and thoughts about the insurmountability of obstacles.

"Vermicelli" - a tendency to secrecy for the sake of abuse, unforeseen attacks, hidden rage.

The branches are not connected to the trunk - a departure from reality that does not correspond to desires, an attempt to “escape” into dreams and games.

The trunk is open and connected with the foliage - high intelligence, normal development, the desire to preserve inner peace.

The trunk is torn off the ground - lack of contact with the outside world; Everyday life and spiritual life have little connection.

The trunk is limited from below - a feeling of unhappiness, a search for support.

The trunk expands downward - searching for a reliable position in one’s circle.

The trunk tapers downwards - a feeling of security in a circle that does not provide the desired support; isolation and the desire to strengthen the self against a troubled world.

Overall height - lower quarter of the sheet - dependence, lack of self-confidence, compensatory dreams of power.

The lower half of the leaf is less pronounced dependence and timidity.

Three quarters of the leaf is a good adaptation to the environment. The leaf is used in its entirety - it wants to be noticed, count on others, assert itself.

Sheet height (page divided into eight parts):

1/8 – lack of reflection and control. Normal for a four year old child

1/4 – the ability to comprehend one’s experience and slow down one’s actions,

3/8 – good control and reflection,

1/2 – internalization, hopes, compensatory dreams,

5/8 – intense spiritual life,

6/8 – foliage height is directly dependent on intellectual development and spiritual interests,

7/8 – foliage covers almost the entire page – an escape into dreams.

Manner of depiction

Sharp peak - protects against danger, real or imaginary, perceived as a personal attack; desire to act on others, attack or defend, difficulties in contacts; wants to compensate for feelings of inferiority, the desire for power; seeking a safe haven due to feelings of abandonment for a firm position, need for tenderness.

Multiplicity of trees (several trees on one leaf) is childish behavior; the subject does not follow these instructions.

Two trees - can symbolize oneself and another loved one(see position on the sheet and other points of interpretation).

Adding various objects to the tree is interpreted depending on the specific objects.