Detailed interpretation of tree man house. What do you get pleasure from? The house is behind a high fence

Test "House, tree, person"

The House, Tree, Person test was invented by psychologist John Buck in 1948 and is still used today. It's simple: the subject needs to draw the three figures mentioned in the title, after which the psychologist will be able to assess his emotional state by studying the resulting triptych.

To conduct research according to all the rules, you will need special preparation and a 350-page manual, but we will not be so strict. The fact is that all the figures stated in the title are intended to show the same thing - the inner world of the author, and tripling simply allows us to avoid discrepancies: the characteristic features are repeated in each picture. Therefore, let your child draw only a house, and in order to identify accidents and patterns, ask him about the most strange details of the resulting picture. The test is suitable for children over 3 years of age.

Instructions

1. Prepare a sheet of paper and colored pencils.
2. Voice the task: “Please draw a house. And try to do it the best you can."
3. Watch the child draw.
4. When the masterpiece is ready, conduct a short interview with the creator: “Who lives in this house?”, “Is this a happy home?” and so on.

Decoding

Perhaps a normal house for you is a twenty-story panel building or a bungalow with a swimming pool, but psychologists consider a primitive structure with a pair of windows, a door, a pointed top and a chimney to be correct. But the absence of all these details in the picture, the uncleared base of the house, the unpainted roof, construction miscalculations (triangular windows, a small door, or even none at all) indicate that the artist has certain psychological problems. When deciphering the picture, do not forget to make allowances for the child’s age. So, for example, a pipe sticking out of the roof at an angle that suggests a drunken stove-maker does not at all mean that the child is subconsciously trying to get burned. This is a normal detail in a child's drawing.

Roof

The higher and more original it is, the richer the child’s imagination. But a flat and poorly drawn roof indicates that it’s time for you to take care of your baby. Does he spend too much time in front of the TV?

Pipe

This is a symbol of the warmth of relationships. If she is not in the picture at all, it means that you are too strict with the child and he clearly lacks banal parental affection. The chimney the size of the bell tower of Ivan the Great and the thick smoke pouring out of it indicate that too violent passions are boiling in the child’s soul and he cannot cope with them on his own. Perhaps you are overloading your baby with “adult” information that he is not yet able to “process” correctly.

Door

This detail of the drawing demonstrates your child’s readiness to communicate. If it is in the center of the house and is hospitably open, there is nothing to worry about. But a small side door (sometimes with a lock hanging on it) indicates excessive isolation. 10 rules for communicating with an introverted child.

Window

Almost a mirror of the soul. If they are not there at all or they are curtained (closed with shutters, boarded up) - this means that the baby mostly lives in his inner world. Disproportionately high windows will be drawn by a little dreamer who is more comfortable soaring in the clouds than walking on the ground.

Secrets of the pyramids

The size of the picture and its location also matter. Psychologists here, as always, are for the golden mean: a neat, not large or small structure approximately in the middle of the sheet tells us about the adequacy of the author’s self-esteem. A lopsided, rickety hut is a sign of an overly critical attitude towards oneself. Read how to raise a child to be confident. Scattered houses instead of a whole building indicate the child’s desire to distance himself from someone close to him.

Typically, children begin to “build” a house from the roof or base, and then draw in the details. But kids who are not confident in themselves, on the contrary, first start with small objects, and then have difficulty connecting them with each other.

If the architect decides to paint his creation, you should pay attention to the chosen color. Monochrome means that the painter is afraid of emotions (well, or you don’t give him enough pencils), and a “rainbow on the walls” will be painted by a restless nature. Most children, according to statistics, create houses with a green roof and brown walls - this is the color scheme that is considered the norm. Black paint indicates fearfulness, red paint means increased vulnerability and the need for care. But the yellow house in this test is considered an expression of hostility towards the outside world.

In addition to the house itself, there may be additional details in the picture, and experts also have something to say about them. Bushes, paths and a yard surrounded by a fence? The child wants to isolate himself from some source of anxiety! But the sun in the sky is good. Most likely it's you.

There are different ways to determine and analyze the basic emotional and intellectual characteristics of a particular person. The “House, Tree, Person” (HTP) method is an interesting and informative test that will tell you a lot of important things about the diagnostic participant.

Characteristics of the psychological method “House, tree, person”

Each person is a separate, specific personality that will not exist again. People differ in the very essence of the soul; their similarity is only external. The more someone becomes himself, the deeper and clearer his original features appear.

Valery Bryusov, Russian poet, novelist and playwright

A projective test for obtaining personality characteristics “House, tree, person” was proposed in the late 40s of the twentieth century by the American neuropsychologist J. Book. Initially, it was used to study the limits of an individual’s performance in production, as well as to determine the characteristics of his relationship with the team, which was the most important at that time. However, over time, Beech’s followers adapted this technique for children, and also somewhat simplified the diagnostic procedure. The objectives of the study are to assess:

• personal qualities of the subject;
• level of mental development;
• socialization among peers (especially important for children who enter kindergarten).

As for the age of the subjects, the test can be carried out for the first time with a child after he reaches 3–4 years of age, when the baby has already formed elementary representations about the rules for depicting objects.

Correct administration of the projective drawing test

Work can be carried out both in a group and individually. The only caveat is that if the technique is implemented in a team, then there should not be more than 4 people in the association. By the way, many psychologists defend their position that the most appropriate form of work is still individual, since in this case the experimenter has the opportunity to ask some leading questions.

For work, the subject receives a sheet of A4 paper and a hard-soft pencil, so that in the future they can evaluate the force of pressure on the sheet. The diagnostic algorithm is as follows:

1. The experimenter, at his own discretion, determines which model of conduct is more productive. First: the child is given a sheet folded into an accordion shape three times (usually this is used with younger children). In this case, each object will be depicted on separate spreads. Second model: allow the subject to place all three illustrations on a flat piece of paper (in this case, several new and important aspects- distance of a specific object, pressure, and so on).
2. Then the adult recommends: “Draw the house, tree and person the way you want.”
3. While performing the task, the test organizer must record all comments, conditions and other external manifestations of the test taker. Such observation will be especially important for a psychologist in case the test subject exhibits deviations.
4. After completing the drawing, an individual conversation is held. An adult can ask the child to explain who he drew, and also find out whether the character is in a good mood, what affects his well-being, and why the subject likes the depicted character the most.

The test time is limited only formally - 20–30 minutes. Usually children cope with the task faster.

Processing and deciphering the child’s results

Scoring and analysis

First of all, the experimenter must assess the symptom complexes of the subject’s personality. To do this, each of the 8 syndromes is assessed point by point from 0 to 3 points (0 - the element is not highlighted, 1 - the symptom is partially manifested, 2 - the symptom is half revealed, 3 - complete coincidence).

Maximum possible points:

1. Insecurity - 32.
2. Anxiety - 33.
3. Lack of self-confidence - 8.
4. Feeling of completeness - 16.
5. Hostility - 15.
6. Conflict, frustration - 23.
7. Communication difficulties - 18.
8. Depression - 10.

If the result for each indicator exceeds 50% of the possible number of points, then this indicates that the child needs professional help psychologist and in the selection of a correctional program. The norm is the sum of points scored from zero to a quarter of each maximum value.

Interpretation of drawing features

No detail in the process of analyzing a drawing can be superfluous. Here are the nuances you should pay attention to when examining the image and interpreting the child’s behavior:

Interpretation of key objects in the drawing

House

• If the building is old, then the subject shows rejection of himself.
• If the house is located in the foreground, then the child is hospitable and loves to spend time with his peers.
• The steps leading to the door reveal the rational thinking of the “artist,” but if they rest against a blank wall, the subject has problems establishing communicative contact.
• The manner in which the walls are depicted indicates the ability to control the situation. So, too thick walls with a clear outline - the desire to be included in everything that happens in the real world. But thin, almost imperceptible contour lines convey the opposite: a desire to close oneself off from reality.
• The pipe symbolizes warmth and comfort. By its absence, the subject shows a lack of heat. A drainpipe is a symbol of suspiciousness.
• Distorting details of the house reveals the subject's hostility. The same can be said about the absence or, conversely, an excessive number of doors, windows and rooms. A clear line demarcating the floors of the room indicates a rational approach to solving issues.
• The analysis of the images of doors deserves special attention. If they are not designated in the house, then it is difficult for the child to open up to other people, including loved ones. The presence of only side ones indicates the subject’s desire to escape from problems and give in. Pay attention to the order in which the element is depicted: the door, painted last, indicates a reluctance to communicate with people. An unlocked door is a symbol of openness. The larger the size of this object, the more comfortable the child feels in life. The castle indicates secrecy and hostility towards others.
• A well-drawn roof is a tribute to the desire to be protected. At an older age - a manifestation of infantilism. Too much canopy indicates that the subject is living in his fantasies.
• The presence of extensions may indicate resentment or anger towards the person who owns this house.
• A building in motion is an indicator of psychophysical disorders.
• The drawn interior of the living room shows the need for live communication.
• The absence of windows indicates alienation and hostility. In children's drawings you can often notice many openings. This speaks of a desire to explore the world by any means. Open shutters or curtains indicate anxiety in the subject. Wide open windows indicate the subject's straightforwardness. Introverted children often draw these elements with castles. It is also important to pay attention to the distribution of openings. If they are concentrated on the ground floor, then the child is very open; on the second, the fantasy world captures the subject more than the real one.
• If the path to the house is shown as short, then the subject prefers loneliness; a winding path reveals a creative person, but a straight path reveals an innovator who will always look for easy ways in everything. But if the path narrows towards the house, then the child is cheerful and sociable in public, but at home he prefers to “recharge” in silence.

Tree

• Foliage. The round shape of the crown indicates excessive emotionality, but the round pattern of the leaves indicates that the child feels abandoned. If the leaves are marked schematically, then this is a sure sign that the subject wants to close people off. If a child draws palm leaves, then he dreams of traveling. Net-shaped leaves are a symbol of the ability to solve problems on your own.
• Lowered branches are a sign of reluctance to make efforts, but raised ones, on the contrary, show enthusiasm. IN adolescence it is also a thirst for power. Branches spread out in different directions indicate a search for ways of self-affirmation, but in children this arrangement indicates confusion.
• A well-drawn crown shows the exaltation and emotionality of the subject.
• Trunk. If it is drawn with one line, then the subject does not want to look at the world objectively, preferring to live in an illusory world. The curve is an indicator of inhibition. A tree torn out of the soil indicates a child’s lack of contact with the outside world. When the trunk expands downwards, this indicates that the child is looking for sympathy and support from loved ones.
• If the illustration shows not one, but two trees, then perhaps the person being tested in this way showed himself and an adult who is significant to him (this requires clarification in the conversation).
• The depiction of the earth with one stroke shows the desire for order, and with several strokes it shows the desire to obey only one’s own rules. The latter option is most often seen in illustrations made by children, which deserve the definition of “obedient.”
• Small roots symbolize curiosity, which is the driving force behind almost all of the subject's actions. Two lines as roots are a desire to suppress some manifestations in oneself (not always bad).
• The symmetry of the plant shows the subject’s desire to be in harmony with the world around him. This is also a manifestation of the fact that the child is undecided about a choice.

Did your child draw several trees? He may simply not be following the test instructions, or may have signs of mental retardation. However, this does not apply to the situation when 2 trees appear in the picture.

Human

Usually, children spend the most time drawing a person. It is important for the experimenter not to interrupt or distract the subject during this process.

• Head. With a large head, the subject shows his understanding of the concept " clever man”, and also clearly places himself in this category. Small heads, as a symbol of intellectual underdevelopment, are drawn by children aged 9–16 years, especially those with learning problems. Also, a tiny part of the body indicates the child’s shyness.
• Neck. Long - the desire to control everything that happens around. Usually this element is inherent in the drawings of very active children. Thick and short indicates compliance.
• Shoulders. Broad - recognition of the power of force over the mind. Small ones are a symbol of a feeling of one’s own worthlessness, belittling one’s merits. Sloping shoulder girdle - a feeling of guilt before a loved one.
• Torso. A large one speaks of dissatisfaction with something, and a small one speaks of one’s own low value.
• A prominent chin shows the subject's need to dominate. Wide is usually drawn by indecisive guys.
• Sparse or too thin eyebrows are usually depicted by children who approach reality with a great deal of skepticism.
• Those who have a hard time withstanding criticism tend to have big ears. Disproportionally small - a symbol of the desire to drown out any attempts to influence the choice or decision of a teenager. For children this does not have any symbolic meaning.
• Small eyes show the child's isolation. Lush eyelashes are often painted by children aged 10–16 years, since at this age the desire to show off oneself awakens.
• A wide smile denotes insincerity and forced friendliness. The dash mouth demonstrates passive acceptance of life; in children this may be due to the overprotectiveness of adults. Clearly drawn teeth are present in pictures of children who often show aggression.
• The larger the nose, the more cheerful the subject's disposition. The emphasis on the nostrils is made by children who are prone to demonstrating anger.
• Hair and eyebrows: the more shaded these elements are, the stronger the expression of anxiety in the subject. Unpainted hair, decorated only with an outline, speaks of the child’s hostility.
• The longer the arms, the more ambitious the child is tested. Limbs behind the back are drawn by those who do not know how to compromise. Hands are drawn on the chest by suspicious children. The limbs are pressed too tightly to the body by clumsy guys who constantly hear such a reproach addressed to them. Excessively large hands are depicted by impulsive subjects. If a child completely “forgot” about his limbs, then perhaps he has some psycho-emotional disorders. Hands behind your back is a desire to hide something. The absence of palms may be a sign that the subject does not feel maternal love. The more fingers a child draws, the more ambition he has. Thin phalanges are a symbol of hostility. Primitive knuckles symbolize callousness, sometimes even aggression. If there are fewer than five fingers, then the subject may be dependent on the opinions of adults and often feels powerless in resolving certain issues.
• If a child begins to depict a person by drawing legs, then the “artist” treats others with a degree of timidity. The unequal size of these limbs indicates a desire for independence. The emphasis on the legs is usually made by subjects who tend to be rude. The absence of such body parts indicates shyness and isolation. Dependence on authoritative adults is shown by disproportionately small feet. On the contrary, too long ones indicate a desire to demonstrate one’s independence.
• If the back of the figure’s head is visible, then the child tends to be withdrawn. A running man symbolizes the desire to hide something. A figure shown only in outline speaks of a reluctance to have anything in common with others. This situation can arise if a child (most often a teenager) has problems with both studying and establishing contacts with peers.
• A body unbalanced in space indicates tension. The image of a doll is a recognition of one’s compliance. If a child drew, for example, Baba Yaga, then he clearly has a hostile attitude towards women. But a clown in adolescence is a symbol of self-contempt.

The “House, Tree, Person” method is a useful test for a specialist in psychology working with children. However, the experimenter should be very careful in interpreting the test results, also including notes taken during the conversation with the child, as well as referring to his own experience. Only in this case can the analysis be considered objective.

Target: Assessment of the personality of the subject, his level of development, performance,

relationships with the outside world.

Material: A white sheet of paper folded in half to form four

pages. First page for recording examination date and data

subject, the next three pages for drawings: “House”, “Tree”,

“Man”, simple pencil, eraser. For preschoolers you can give

a regular sheet of paper and colored pencils.

Instructions for preschoolers: Please draw a house, it could be

any: the one in which you live, or which you saw somewhere, maybe

be fabulous. Try to draw as best as possible. After that,

As the house is drawn, please draw a tree and a person.

Record in the protocol:

Time from the moment instructions are given to the start of drawing

Duration of any pauses

Total time used for drawing

Sequence of images of the details of each drawing, number them.

All comments from the child are verbatim if possible.

Any emotions of the child during the test

Questions for conversation:

For a drawing of a person:

Is it a man or a woman, a boy or a girl?

Who is he, how old is he?

Is it your relative, friend or someone else?

Who were you thinking about when you were drawing?

What does he do, where is he located?

What is he thinking about, what is his mood?

Who does the drawn person remind you of?

How do you feel towards this person?

What is the weather like in the picture?

What does this person want most, and why?

How is this person dressed?

For a tree drawing:

What kind of tree is this?

Where is this tree located?

How old is this tree?

Does this tree grow alone or among other trees?

Is it taller than you, shorter, or are you the same size?

Is there wind in the picture, what kind of wind is it, in what direction is it blowing?

What does this tree remind you of?

Is this tree strong, healthy or diseased?

Who does this tree remind you of, and why?

What does this tree want most, and why?

If instead of / a bird, another object in the picture, unrelated

to the main tree /, if there was a person, then who could it be?

For drawing a house:

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 drew a house, who did you imagine as the owner?

You would like this house to be only yours, why?

If you could do with this house as you please, what room would you like?

chose for yourself, why, with whom would you like to live in this house?

When you look at the drawing, is this house far or close to you?

Is this house taller, shorter, or the same size as you?

What does this house remind you of?

Is this house welcoming, friendly or...?

Do you think everyone in this house is friendly or...?

What is the weather like in this picture?

Who do you think about when you look at this house, why?

What does this house want most?

What is the pipe on the roof for, where does this path lead...?

If instead of / a bush or any other object in the picture / there was

man, who could it be?

The interpretation process consists of a sequential analysis of the following

groups of elements: details, proportions, perspective, time, quality of lines,

self-criticism, attitude to the task, comments.

Interpretation:

In the picture the houses should be depicted: door, window, walls, roof, pipe

or something to heat the house.

In a drawing of a tree required: trunk, at least one branch.

In the drawing of a person required: head, torso, two legs, two arms, two eyes,

nose, mouth, two ears.

Lack of required parts in the drawings of children with average level

intelligence, indicates a decrease in this level.

If the drawing contains minimum details, but good from the point of view proportions And

perspective, this may mean that the child is characterized by:

Tendency to be withdrawn

Abnormal disregard for traditional things

If a minimum of details with low level qualities of proportions and perspective, That

it can be assumed that the child reduced intelligence or there is a decrease.

If there is an excessive amount details - anxiety connected with the environment.

Analysis of the house drawing:

Window: is an image of visual contact. A house without windows, a window without glass, windows with

shutters, curtains, painted over - these are closed, a child who has withdrawn into himself.

Many windows, a window sill decorated with flowers, a round attic window - all this

speaks of affectionate and tender attitude of mother to child.

Doors: - the ability to enter or leave the house. Frontal door - accessibility

entry and exit. Rear or side the door is an escape from reality. Big

lock on the door – isolation, unsociability of the child.

Pipe: presence of pipe – good attitude father and child, smoke coming from the chimney -

favorable atmosphere in the family.

Tree pattern analysis:

Tree symbolizes how the child feels in the surrounding reality.

Tree with crown V in the form of a circle or oval - strong hostile impulses.

Trunk– symbolizes feelings concerning the personal potential, abilities.

Crown: an indicator of the degree and desire to obtain satisfaction from the environment.

Broken, drooping, dead branches, scars: symbolize psychic injuries.

Feelings of inferiority, inadequacy, worthlessness, guilt.

Image dead tree – poor fitness, adaptation.

Branch flexibility, large quantity, size – adaptability , personal resources.

Root system: represents force and quality aspects personality.

External forces: weather conditions, through which children express their feelings about the world.

Wind: symbolizes exposure to external forces.

The wind blowing from bottom to top is a desire to be transported from the real world to the world of fantasy.

The wind is from top to bottom: the left corner is the past, the right corner is the future.

The setting sun can mean a depressed mood.

Sun behind a cloud: - anxious, unsatisfied relationship / with someone... /

Analysis of a person's drawing

Hands: hides it behind his back - it means he did something and doesn’t want anyone to know about it.

Feet - symbolize movement . No hands and feet – helplessness.

Drawing having Only eyes- excessive suspicion caution.

Absence nose, ears and mouth - indicates reluctance to communicate.

Ground line/ extra details / - sign insecurity at all.

Clouds:- T anxiety connected with the surrounding reality.

"House-Tree-Person Test" (House-Tree-Person Test, H-T-P) is a projective technique 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.

Procedure

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:

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 DDH is not a test for artistic ability that he is not interested in the subject's drawing abilities 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 elapsed 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. 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 give rise to comments that at first glance are completely inappropriate to the objects depicted, which, however, can provide a lot 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.

If the task was preceded by a pause, this should be recorded under item 1, and the first detail drawn 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?
• Dr5.
  • 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?
• 8 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 such unusual details in a drawing of a house, like 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(s) 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 early childhood, the top of the tree - for the present age of the subject, and the distances between them - for 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 obtain 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.

The time for conducting a post-drawing survey is not limited. 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.

You can recommend that the researcher mark with circles the number of any question, the answer to which, as it seems to him, requires additional explanation in the subsequent conversation. 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 should ask the subjects to draw as much as possible. better house, a tree and a person in the order listed and tell them that they are mine to 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 everyone, as soon as they finish this or that drawing, must report this to the researcher so that he can 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 of results

HOUSE

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 - 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.

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 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 - the gap between real life and living in fantasies.

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 outline 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. 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.

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 closely surround the house, there may be desire protect yourself 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 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

Color and common 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 arousal.

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 highest sensitivity. 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.

The color yellow is a strong sign of 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) the right side is the future, the left is the 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 below up) - 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 at the other vertical line roofs and walls - cannot depict depth) - signals the beginning difficulties of integration, fear of the future (if the vertical side line is on the right) or the desire to 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 a drawing above the center of the sheet - than more drawing 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 remain 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 in relation to the center of the sheet, the more it looks like:

1. the subject feels unsafe and uncomfortable, and this creates a depressed mood;
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 - the subject is inclined to seek pleasure in the intellectual spheres. Controlled behavior. Emphasis on the future.

The drawing extends 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 achieve a clear position.

HUMAN

Head

Sphere of intelligence (control). Sphere of imagination. Big head - unconsciously emphasizing 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 - an 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 concession 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.

The 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 - caution, secrecy, possible feelings of depersonalization and alienation.

Eyebrows are 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 in 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 aspiration along with a feeling of inadequacy.

Hands too large - strong need for better adaptability social relations 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.

Long and weak arms - dependence, indecisiveness, need for care.

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

Arms extended at 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 - a feeling of physical or psychological awkwardness.

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

Legs of unequal sizes - ambivalence in the desire for independence. No legs - timidity, isolation. The 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 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.

An unbalanced standing figure is 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, contempt itself.

Background. Environment

Clouds - fearful anxiety, fears, depression. Fence for support, contour of the ground - insecurity. The figure of a person in the wind - 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

Line breaks, 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, callous.

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

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

Sketch outline - anxiety, timidity. Discontinuity is a sphere of conflict. The line is emphasized - anxiety, insecurity. 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 energetic 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.

Direct 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. Shading from oneself - aggression, extroversion. Erasures - anxiety, apprehension. Frequent erasures - indecision, dissatisfaction with oneself. Erasing when 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 stiffness. A very small figure with a thin contour - 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.

The 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 Details - 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 show 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.

Task orientation

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 title 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 of a standing person).

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 features 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, can cause anxiety.

The roots are indicated by a line - childish behavior in relation to what is kept secret.

Roots in the form of two lines - 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 - protection of one's own inner world in a childish way.

Closed dense foliage - 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. Net 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, 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 your circle.

The trunk tapers downward - 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 sheet 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 your experience and slow down your actions,
• 3/8 - good control and reflection,
• 1/2 - internalization, hopes, compensatory dreams,
• 5/8 - intense spiritual life,
• 6/8 - the height of the foliage is directly dependent on intellectual development and spiritual interests,
• 7/8 - almost full page foliage - an escape into dreams.

Manner of presentation

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 to a tree various objects- interpreted depending on specific objects.

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

Earth

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 representing the ground and touching the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.

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.

The test can be taken by both adults and children, and a group examination is possible. The examinee is asked to draw a house, a tree and a person (DH). Next, a survey is built based on the location of the elements and their characteristics. R. Berne, when using the DDH test, suggests drawing a house, a tree and a person in one drawing, taking place in one scene. The scientist believes that the interaction between these objects represents 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.

Material: pencil or pen, standard size sheet of paper (A4).

Instructions. Draw a picture on a piece of paper that includes 3 objects - a house, a tree and a person.

Interpretation of signs

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, then the main thing for a person is vital energy. If the house is drawn first, then safety, success, or, conversely, neglect of these concepts come first. Now let's look at all the components separately.

The house is old, falling apart. Sometimes a subject can express an attitude towards himself in this way. Home in the distance– feeling of rejection (rejection) House nearby– openness, accessibility and (or) a feeling of warmth and hospitality. House plan(projection from above) instead of the house itself - 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 to interpersonal relationships. Steps leading into a blank wall (no doors), - a reflection of a conflict situation that is harmful to the correct assessment of reality, the inaccessibility of the subject (although he himself may desire free cordial communication).

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 significantly thicker (brighter) compared to other parts. 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 accented outline of the base. The subject tries to repress conflicting tendencies and experiences difficulties and anxiety. A wall with an accentuated horizontal dimension means poor orientation in time (dominance of the past or future). Perhaps the subject is very sensitive to environmental pressure. A wall with a side contour that is too thin and inadequate is a premonition (threat) of disaster. At the wall, the contours of the line are too accentuated - a conscious desire to maintain control. The wall is in 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.

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. Doors are very small - reluctance to let into your Self. Feelings of inadequacy, inadequacy and indecisiveness 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.

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 readiness for contacts, and the absence of curtains shows a lack of desire to hide one’s feelings. The windows are heavily closed (curtained) - concern about 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.

The roof is a realm of fantasy. The roof and chimney torn off by the wind are a symbolic expression of the subject’s feelings of being commanded regardless of his own willpower. The roof, a bold outline that is not characteristic of the entire drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety. The roof, the thin outline of the edge - the experience of weakening control over fantasy. 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.