Projective techniques house tree man. Test: "Home

The test proposed below is very often used to diagnose a child’s readiness for school, “school maturity.”

We know that a child’s drawing can tell a lot, because... reflects the child’s state of mind, the content of his inner world, relationships with loved ones. Even a layman can see the “positive” and “negative” elements of a child’s creation. True, when it comes to interpretation, you should always remember, dear parents, that the correct and complete interpretation of a drawing (both for children and adults) is, of course, the work of only a professional.

However, there will be no harm if we use some knowledge, look at the child’s picture carefully and try to understand what worries your baby.

Today I propose to use one of the most famous methods of personality research, proposed by J. Book back in 1948. The test is called "House. Tree. Person."

Since it is believed that the concepts “house”, “tree”, “person” do not carry any obvious emotional meaning, then everything that the child expresses in these drawings, and everything that he attributes to these objects, is his own emotional reactions expressed in explicit or symbolic form. Each of these objects must be considered as a self-portrait, since the child endows it with certain features that are meaningful to him.

The methodology consists of two stages: in the first, the child creates drawings, in the second, a conversation is held when the child describes and explains what he has drawn.

approach your child with the following words: “Draw the house as best as possible.”

As soon as he starts drawing, record the time so that you know how much time the child spent on drawing. As usual, the use of additional devices is not provided. After your child has completed the drawing, ask him to draw a tree and then a person.

While the child is working on the drawing, you should observe him and make notes regarding the time spent, pauses that occur in drawing (during drawing what detail did it occur, how long did it last), deviations from the normal sequence of images of the elements of the house, tree and person made child's comments and expressed emotions.

After all the drawings are completed, move on to the conversation. Below is a list of questions that will help you clarify any unclear points and obtain important information about your child.

How many floors does this house have?

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

Is this your house? (If not, whose is it?)

When you painted this house, did you think who is its owner?

Would you like this house to be yours? Why?

If this house were yours:

Which room would you choose for yourself? Why?

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

Is this house somewhere far away or close?

What do you think about when you look at this house?

What does it remind you of?

Is this house welcoming, friendly?

Is it similar to other houses or different in some way?

What is the weather like in this picture?

What's missing in this house?

Where does the path lead from the house?

If there was a person nearby, who would it be?

What kind of tree is this?

Where exactly is this tree located?

What is the approximate age of this tree?

Is this tree alive?

If the child says that the tree is alive:

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

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

If the child thinks the tree is dead:

Why do you think the tree died?

When do you think this happened?

Who do you think this tree looks more like: a man or a woman?

What exactly in the picture confirms this?

Is this tree alone or are there others nearby?

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

Is there wind in the picture?

Show me which way the wind blows?

Tell us in more detail what kind of wind this is, what is it like?

What does this tree make you think of?

What does it remind you of?

Is this tree healthy?

Is this tree strong?

If you decided to draw a sun, where would you place it?

Who does this tree remind you of? Why?

What does this tree need most? Why?

Is it a man or a woman (boy or girl)?

How old is he/she?

Is it your relative, friend or someone else?

Who were you thinking about when you were drawing?

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

What is he thinking about?

How does he feel?

What thoughts come to your mind when looking at him?

Who does this person remind you of?

Is this person healthy?

Why do you think so?

Is this person happy?

Why do you think so?

How do you feel towards this person?

What is the weather like in the picture?

Who does this person remind you of? Why?

What does this person want most? Why?

Interpretation

Let us repeat once again that each drawing should be considered as a self-portrait of a child. The analysis of the drawing is carried out in the following sequence: details, proportions, perspective, time, quality of lines, comments. Please be aware that the same element can have different meanings depending on the overall configuration, and that it can have more than one meaning.

If a child, when drawing this or that detail, accompanies it with comments, expresses some emotions at this time, probably this detail has special meaning for him. The same conclusion can be drawn if he violates the natural sequence of drawing details (for example, starting a house with a chimney), intensively erases some element of the drawing, returns to what was drawn once or more, spends too much time depicting a detail, or depicts it in an unusual way. manner, leaves a detail unfinished, omits a detail even though it is required, refuses to talk about that detail.

interpretation begins with such an indicator as the number of details. First of all, you should make sure that the required parts are available.

The house must have at least one door (the exception is if only a side wall is painted), one window, one wall, a roof, and a chimney or other means of venting smoke from a stove or something that can be used to heat the house.

Tree must have a trunk and at least one branch (unless the child has drawn a stump instead of a tree, which is regarded as a very alarming sign).

Human must have a head, a body, two legs, two arms, as well as two eyes, a nose, a mouth and two ears.

The absence of any of the required details listed above may indicate a violation. The presence of additional details (bushes, flowers, path) can be interpreted as a desire to fill and organize the surrounding space, which may be associated with a lack of a sense of security, anxiety, and insecurity.

Other warning signs include missing foundation lines, broken windows, a door that is smaller than the window, a window that is not rectangular (unless it is an attic window), or a transparent roof or wall that allows you to see objects inside the house.

A dilapidated, old house, an unstable building conveys the child’s critical attitude towards himself. If the house consists of several different buildings, this may express a feeling of hostility towards someone close to him.

A roof, indicated by a horizontal line connecting the walls, may indicate inhibition of thinking, lack of emotions, and acute feelings. A high, large roof, as well as the emphasis on it, probably indicate that the child is prone to fantasy.

The trumpet symbolizes the warmth of a relationship, so its absence may indicate a lack of warmth, care, guardianship, or the presence of a conflict in a relationship with a loved one. If a lot of smoke comes out of the chimney, something is probably bothering the child and there is internal tension.

it's obvious that door implies the possibility of access or retreat; the front door can represent both entrance and exit, meaning it symbolizes accessibility, while the back and/or side door usually represents exit, escapism. If there is no door, the child is inaccessible, withdrawn, and does not want to contact others. An open door expresses the child’s need for warm, close relationships, his openness, straightforwardness, and sociability. A very large door may mean that the child has a hard time with loneliness, requires attention, and likes to be the center of attention. A door that is too small indicates opposite tendencies: extreme isolation, denial of any contact, reluctance to let others in.

If a lock is drawn on the door, this can be interpreted as secrecy, perhaps even hostility, a need for protection. The need for protection is also indicated by the presence of a fence near the house.

The window is an image of visual contact. A withdrawn, withdrawn child may show his hostility by drawing windows without frames, not drawing windows at all, or not drawing them on the first floor; draws windows, but complements them with shutters, shading, curtains, shades, etc. If the windows are drawn high from the ground, this may indicate a certain separation of the child from the realities of life and a preference for imaginary worlds. The child who drew the windows last expresses a desire for privacy and reluctance to contact others. Open windows can indicate straightforwardness, a sense of confidence, and some self-esteem.

A large, very large tree can serve as an expression of an aggressive attitude. If the drawing consists predominantly of weak, thin lines, this indicates uncertainty, indecision, and poor adaptability. If the shape of a tree resembles a keyhole, with a crown in the form of a circle or oval, this may mean strong hostile impulses. Scars on the tree's body, broken, drooping or dead branches seem to symbolize mental trauma. If a child graphically or verbally indicates that a tree is dead, this is regarded as a sign of feelings of inferiority, inadequacy, failure, worthlessness, guilt, etc. Most often, branches or roots are referred to as dead or partially dead. In this case, damaged branches are interpreted as a symbol of the traumatic effects of the environment, and a dead root system implies intrapersonal disharmony.

It is assumed that the tree symbolizes how the child feels in the reality around him. Since the external forces acting on the tree are predominantly meteorological, through a description of weather conditions the child can express his impression of how he perceives the relationships of others: whether the surrounding reality is generally supportive and friendly or oppressive and hostile.

Human

A person depicted from the front must have a head, a body, two legs, two arms, as well as two eyes, a nose, a mouth and two ears. A child can vividly express his feelings of helplessness by drawing a self-portrait without arms or feet. Spreading hands is an expression of the desire for action. If your arms are crossed on your chest, this is evidence of isolation, suspiciousness, and withdrawal. Long arms - the presence of some aspirations, ambitions. Short arms, on the contrary, express a lack of aspirations aimed at the outside world. Disproportionately long legs - a desire for independence. Short legs express a feeling of helplessness.

The eyes, nose, mouth and ears are receptors that perceive external stimuli that may be unpleasant (for example, listening to accusations, criticism), may lead to conflict or problem. A drawing of a person with only eyes indicates suspicion and excessive caution; the absence of a nose, ears and mouth also indicates a lack of desire to communicate.

Dear parents, you should also pay attention to the consistency in drawing a house, a tree, a person; proportions of details in the drawing (perhaps something seems too big or, conversely, too small); perspective (what is drawn and where); the time that the child spends on drawing the elements of the picture; quality of lines (thick, weak lines); comments - oral or written - names of people, names of streets, trees, etc. Be careful and take notes.

Unfortunately, the size of the issue does not allow us to describe in detail the features of the interpretation of the drawing. However, dear friends, if you wish, you can easily find a detailed description of the interpretation of various aspects of the drawing on the pages of the World Wide Web.

Let me remind you once again that only a specialist can give a full interpretation of the drawing, so don’t rush to conclusions! Draw with pleasure!

During the preparation, materials from the book by Katherine Taylor were used. “Psychological tests and exercises for children. A book for parents and educators” Publ.: April-Press, Publ. Institute of Psychotherapy, 2005, 224 pp.

This projective method of personality research was proposed by J. Book in 1948. The drawing test is intended for both adults and children, group examination and testing is possible.
(see psychology of children's drawings)

The essence of the drawing test technique is as follows:
The subject is asked to draw house, tree and person. Then a survey is conducted according to the developed plan.

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 drawn first tree, which means that the main thing for a person is Vital energy.

If drawn first house, then in first place – safety, success or, conversely, neglect of these concepts.

Interpretation of signs in the test “Home. Tree. Human"

“HOUSE” in the psychological drawing test ^

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.

"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, 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 - 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.

"WINDOWS" ^

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 willingness to make contact, 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, 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 reluctance of the subject 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).

"ADDITIONS" ^

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; its usual use: 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 CHOICE" ^

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

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, signs of “loss of perspective” (the individual correctly draws one end of the house, but at the other draws a vertical line of the roof and walls - 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.

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 picture below the center of the sheet - the lower the picture is in relation 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.

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.

No. Selected feature
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

“Man” in a psychological drawing test ^

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.

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 means concessions to one’s weaknesses and desires, an expression of an unsuppressed impulse.

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.

Symbolizes masculinity.

The body is angular or square - masculinity.

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

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

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 especially 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, and 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.

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.

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.

A man’s large arms and legs mean rudeness, callousness.

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 - compensation for perceived weakness and guilt.

Hands are absent from the female figure - the maternal figure is perceived as unloving, rejecting, and 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.

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 by the 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 body parts 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.

A robot instead of a male figure – depersonalization, a 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.

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 skating on thin ice.” The base is often drawn under a house or tree, less often under a person.

The weapon is aggression.

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.

If a person 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, extroversion.

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 an attempt to redraw (i.e., correct) is an internal conflict or conflict with this particular detail (or with what it symbolizes).

Large drawing - expansiveness, a tendency towards 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 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.

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 ability to critically evaluate a drawing when asked to criticize it is a criterion 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 not enough 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” in a psychological drawing test ^

The interpretation according to K. Koch is based on the provisions of K. Jung (a tree is a symbol of a standing person).

The roots are the collective unconscious.

Trunk – impulses, instincts, primitive stages.

Branches – passivity or opposition to life.

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.

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 in relation to what is kept secret.

The roots in the form of two lines are the ability to distinguish and prudence in assessing the real; the different forms of 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.

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.

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.

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, unexpected 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.

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 yourself 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.

Landscape means sentimentality.

Turning over a leaf is independence, a sign of intelligence, prudence.

The earth is depicted by one feature - focus on the goal, acceptance of some order.

The earth is depicted in several different ways - acting according to its own rules, needing an ideal.

Several joint lines depicting the ground and touching the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.

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 says

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.

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, the absence of “obligatory” details in the drawings, or 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. We are talking about a 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 left, and a left-hander usually draws a figure facing 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 method 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.

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 fewer contacts with reality than is desirable.

Doors