While he is drawing, do not interfere with the process itself, but watch the order in which household members appear on the paper. When the drawing is ready, ask your child the names of all the characters in his picture and start analyzing.

By order: the sequence of appearance of family members indicates the attitude towards them young artist. Usually, children draw their most beloved or most significant family member first. If he forgot to draw someone, this means that the child has a strained relationship with this person. The child often portrays himself in the very center - this means he is confident that his parents love him. And vice versa, he feels abandoned and lonely if he has not drawn himself at all.

By composition: If one of the family members is missing from the picture as a group photograph, ask the child why he forgot him. Such an incomplete portrait is a serious reason to think.

By distance: When there is peace and quiet in the house, all the characters are depicted almost close to each other. The closer the baby draws himself to one of the parents, the stronger his attachment to this person. Any object drawn between people symbolizes a barrier in the relationship between these family members.

By color: He will paint everything that your child loves in warm tones. It will express special affection with rich, bright colors. If a child paints someone’s clothes with blue paint, it means that he feels comfortable next to this person. If it’s green, it means this person is respected and significant to the child. Yellow will mean impulsiveness and guidance to action, red will mean aggression, black color will signal emotional rejection of one of the relatives.

By body part: Carefully drawn facial features signify the love and importance of the parent for the child. If the author of the drawing highlighted his face, this is a sign of narcissism or increased attention to his appearance, but up to 4 years old, such a drawing can be considered the norm. If little artist depicted the mouth of one of the parents as too large, then perhaps this person makes a lot of comments to the child.

If there is no mouth or it is very small, the character in life hides his feelings. Drawn teeth indicate aggression. Characters with big eyes they feel afraid, and with little ones they hide something. Long arms, as well as their complete absence, mean that this person is very powerful and puts psychological pressure on the child. Short arms betray inner weakness. And if a child draws himself with his hands raised up, he wants to assert himself in the family, he lacks attention.

Your child can help not only find, but also neutralize pain points in family relationships.
If you are confused in the interpretation of your child’s masterpiece, then just turn over a piece of paper and take the test on the topic “The Family I Want” with it. Ask your child to draw the family of his dreams, and you will see what each of you needs to be happy and give love to your loved ones.

Family Drawing Test

Instructions

Instruction 1: "Draw your family." At the same time, it is not recommended to explain what the word “family” means, and if questions arise “what to draw?”, you should only repeat the instructions again. For an individual examination, the task completion time usually lasts 30 minutes. When performing a test in a group, the time is often limited to 15-30 minutes.

Instruction 2: “Draw your family, where everyone is doing their usual things.”

Instruction 3: “Draw your family as you imagine it.”

Instruction 4: "Draw your family, where each family member is depicted as a fantastic creature."

Instruction 5: “Draw your family in the form of a metaphor, some image, a symbol that expresses the characteristics of your family.” Of course, this instruction is suitable for adult, educated subjects.

Getting More Information

a) the sequence of drawing parts;

b) pauses of more than 15 seconds;

c) erasing details;

d) spontaneous comments of the child;

e) emotional reactions and their connection with the depicted content.

After completing the task, you should strive to obtain as much additional information as possible (verbally).

Commonly asked questions:

1. Tell me, who is drawn here?

2. Where are they located?

3. What are they doing? Who came up with this?

4. Are they having fun or are they bored? Why?

5. Which of the people drawn is the happiest? Why?

6. Which of them is the most unhappy? Why?

The last two questions provoke the child to openly discuss feelings, which not every child is inclined to do. Therefore, if he does not answer them or answers formally, you should not insist on an explicit answer.

During the interview, the psychologist must find out the meaning of the feeling drawn by the child: feelings for individual family members, why the child did not draw one of the family members (if this happened). Direct questions should be avoided without insisting on an answer, as this can induce anxiety and defensive reactions. Projective questions are often productive (for example: “If a person were drawn instead of a bird, who would it be?”, “Who would win in a competition between your brother and you?”, etc.).

You can ask your child 6 situations to choose a solution: 3 of them should reveal negative feelings towards family members, 3 – positive ones.

1. Imagine that you have two tickets to the circus. Who would you invite with you?

2. Imagine that your whole family is going to visit, but one of you is sick and must stay home. Who is he?

3. You are building a house from a construction set (cutting out a paper dress for a doll), and you are having no luck. Who will you call for help?

4. You have... tickets (one less than family members) to an interesting film. Who will stay home?

5. Imagine that you are on a desert island. Who would you like to live there with?

6. You received an interesting lotto as a gift. The whole family sat down to play, but there are one more of you than necessary. Who won't play?

Processing the results

When performing a task according to these instructions, the presence or absence of joint efforts in certain situations that are depicted is assessed, what place is given to them by the child performing the test, etc.

INTERPRETATION OF THE "FAMILY Drawing" TEST

Based on the features of the image, you can determine:

1. Degree of development of visual culture, stage visual arts, on which the child is located. The primitiveness of the image or the clarity and expressiveness of the images, the grace of lines, emotional expressiveness - those character traits, on the basis of which drawings can be distinguished;

2. Features of the child’s condition while drawing. The presence of strong shading and small sizes often indicate an unfavorable physical condition of the child, the degree of tension, stiffness, etc., while large sizes and the use of bright colors often indicate the opposite: good mood, relaxedness, lack of tension and fatigue;

3. Features of intra-family relationships and the child’s emotional well-being can be determined by the degree of expression of positive emotions among family members, the degree of their closeness (standing nearby, holding hands, doing something together, or chaotically depicted on the plane of a sheet, far apart from each other, very negative emotions are expressed, etc.).

In the drawings (according to L. Corman) the following is analyzed:

a) graphic quality (character of lines, proportions of figures, use of space, neatness);

b) formal structure (dynamic design, arrangement of family members), content (analysis of meaning).

In parallel with the traditional examination (reading and completing the task), they offer special questions that push the subject to discuss the topic of relationships in the family (for example: “Who is the worst in the family?”), provide for a direct positive or negative choice (for example: “Father is planning a trip to car, but there is not enough room for everyone. Who will stay at home?”), as well as questions that clarify the meaning of the depicted situation for the child during the conversation. "Family Drawing" is also accessible to children with reduced intellectual development.

The “Family Drawing” technique is accessible and convenient to use in the context of psychological counseling, it is significant from the point of view of choosing the tactics of a psychologist-consultant for the psychological correction of violations of interpersonal relationships, since it gives an idea of ​​​​the child’s subjective assessment of his family, his place in it, about his relationships with other family members. In drawings, children can express what is difficult for them to express in words, i.e. The language of the drawing conveys the meaning of what is depicted more openly and sincerely than verbal language.

Due to the attractiveness and naturalness of the task, this technique helps to establish good emotional contact between the psychologist and the child and relieves the tension that arises in the examination situation. The use of family drawings in older and younger children is especially productive. preschool age, since the results obtained with the help of this depend little on the child’s ability to verbalize his experiences, on his ability to introspect, on his ability to “get used to” an imaginary situation, i.e. from those features mental activity, which are essential when performing tasks based on verbal technique.

Goal: Identifying the characteristics of the child’s relationships in the family

Family drawing techniques

Family drawing techniques- a group of projective techniques for assessing intrafamily relationships. Based on analysis and interpretation of drawings. As a rule, it is used when examining children.

Drawing techniques are among the most common among projective tests. The idea of ​​using drawing techniques to diagnose intrafamily relationships arose among a number of researchers. detailed diagram conducting a survey and interpreting the results was first developed for the “Draw Your Family” test (W. Wolf, 1947). The experience of using the drawing technique for these purposes was accumulated in the works of V. Hules (1951-1952).

According to the interpretation scheme according to W. Wolf, the figure analyzes : a) the sequence of drawing family members, their spatial arrangement, the presence of omissions of individual family members; b) differences in the shapes and proportions of individual family members. According to W. Wulff, the drawing sequence indicates the importance of a given family member; The omission of a family member often expresses a desire to get rid of an emotionally unacceptable person. If the size of the depicted figures does not correspond to the real hierarchy, then such perception is attributed to the degree of subjective dominance and significance. V. Wulf also paid attention to the interpretation in the differences in drawing individual parts bodies, based on the possibility of experiences associated with their functions.

In the works of V. Huls, interpretative schemes for the “family drawing” technique were proposed, based on the drawing process itself (the use of colors, crossing out, erasing, doubts, accompanying emotional manifestations, comments).

The “family drawing” technique was further developed in the works of L. Corman (1964), R. Burns and S. Kaufman (1972). The instructions for L. Corman's method provide for the task: to draw not a “family” or “your family,” as in the methods of W. Wulf and W. Huls, but “the family as you imagine it.” Thanks to this installation, it is possible to use a less structured object (stimulus).

When interpreting the result, the authors pay attention to cases when the subject draws a larger or smaller family than it actually is. In the drawings according to L. Corman they analyze: a) their graphic quality (character of lines, proportions of figures, neatness, use of space); b) formal structure (dynamic design, arrangement of family members); c) content (analysis of the meaning of the picture). In parallel with the traditional conduct of the study (reading and completing the task), special questions are offered that prompt the subject to discuss the topic of family relationships and provide for a direct positive or negative choice, as well as questions that clarify the meaning of the situation drawn by the child.

The option that has become most famous in foreign psychodiagnostics is the “Kinetic Family Drawing” proposed by R. Burns and S. Kaufman. In it you need to draw each of the family members in action. The interpretation of the material is based on the symbolic interpretation of the depicted relationships, actions, and objects.

In Russian psychodiagnostics A.I. Zakharov (1977) developed his own version of the “Family Drawing” technique. The technique consists of two tasks. To complete the first of them, the child needs to draw one of the family members, including himself, in “four rooms” located on “two floors”. When interpreting the drawing, attention is paid to the placement of family members on floors and which of them is next to the child (i.e., is emotionally closest). The second task is to complete a free-form drawing without any instructions.

In addition to the above methods, there are many more psychodiagnostic techniques for identifying family problems. Here are just a few of them:

- “Analysis of family relationships” (AFV) E.G. Eidemiller - designed for parents of teenagers 14-18 years old;

- “Test Questionnaire of Parental Attitudes” (ORT) by A. Varga and V. Stolin - focused on studying parental positions (mother or father) in relation to a particular child;

- “Interpersonal Diagnosis Questionnaire” by T. Leary, R. Lafurger - determination of the psychological atmosphere in the family.

- “Test Questionnaire of Marriage Satisfaction” (MST) by V. Stolin, T. Romanova, G. Butenko.

Used to study the interpersonal relationships of a child with his parents. This technique reflects, first of all, the child’s experiences and perception of his place in the family, the child’s attitude towards the family as a whole and its individual members.

The most productive use of the “Family Drawing” test is in senior preschool and primary school age.

For the study, you need a sheet of white paper measuring 15x20 cm or 21x29 cm, six colored pencils (black, red, blue, green, yellow, brown), and an eraser.

The child is given the instruction: “Please draw your family.” Under no circumstances should you explain what the word “family” means. If a child asks what to draw, the psychologist should simply repeat the instructions. Even if he asks a question like: “Should I draw a grandmother?” - do not answer the question directly, but rather say: “Draw the way you want.” There is no time limit for completing the task (in most cases it lasts no more than 35 minutes). When completing a task, the following should be noted in the protocol: a) the sequence of drawing parts; b) pauses of more than 15 seconds; c) erasing details; d) spontaneous comments of the child; e) emotional reactions and their connection with the depicted content.

After completing the task, you should strive to obtain as much information as possible verbally. The following questions are usually asked:

1. Tell me, who is drawn here?

2. Where are they located?

3. What are they doing? Who came up with this?

4. Are they having fun or are they bored? Why?

5. Which of the people drawn is the happiest? Why?

6. Which of them is the most unhappy? Why?

The last two questions provoke the child into an open discussion of feelings, which not every child is inclined to do. Therefore, if the child does not answer them or answers formally, you should not insist on an answer. During the interview, the psychologist should try to find out the meaning of what was drawn: feelings towards individual family members, why the child did not draw one of the members (if this happened); what certain details of the drawing (birds, animals, etc.) mean to the child. At the same time, if possible, you should avoid direct questions and insist on an answer, as this can cause anxiety and defensive reactions. Projective questions are often productive (for example: “If a person were drawn instead of a bird, who would it be?”, “Who would win between your brother and you?”, “Who will mom invite to go with her?”, etc. .).

After the survey, the child is asked to solve 6 situations: three of them should reveal negative feelings towards family members, three – positive ones.

1. Imagine that you have two tickets to the circus. Who would you invite to go with you?

2. Imagine that your whole family is going to visit, but one of you is sick and must stay home. Who is he?

3. You are building a house from a construction set (cutting out a paper dress for a doll) and you are having no luck. Who will you call for help?

4. You have “N” tickets (one less than family members) to an interesting film. Who will stay home?

5. Imagine that you are on a desert island. Who would you like to live there with?

6. You received an interesting lotto as a gift. The whole family sat down to play, but there are one more of you than necessary. Who won't play?

To interpret, you also need to know: a) the age of the child being studied; b) the composition of his family, the age of his brothers and sisters; c) if possible, have information about the child’s behavior in the family, kindergarten or school.

The interpretation of the drawing can be divided into three parts:

1) analysis of the structure of the “Family Drawing”"; 2) interpretation of features of graphic presentations of family members; 3) analysis of the drawing process.

Analysis of the structure of the family picture and comparison of composition

drawn and real family

Child experiencing emotional well-being in the family, as a rule, he draws complete family. Distortion of the real composition of the family always deserves close attention, since behind this there is almost always an emotional conflict and dissatisfaction with the family situation. Extreme options are drawings in which: a) no people are depicted at all; b) only people not related to the family are depicted. Such defensive avoidance of a task is extremely rare in children. Behind such reactions most often lie: a) traumatic experiences associated with the family; b) a feeling of rejection, abandonment (therefore, such drawings are relatively common among children who have recently come to the boarding school from families); c) autism; d) feeling of insecurity, high level of anxiety; e) poor contact between the psychologist and the child being studied.

In practice, one has to deal with less pronounced deviations from the actual composition of the family. Children reduce the composition of the family, “forgetting” to draw those members who are less emotionally attractive to them, with whom they have conflicting relationships. Without drawing them, the child, as it were, discharges the unacceptable emotional atmosphere in the family, avoids negative emotions associated with certain people. Most often, there are no brothers or sisters in the picture, so the child “monopolizes” the missing love and attention of the parents. When asked why this or that family member was not drawn, the answers are usually defensive: “I didn’t draw because there was no room left,” “He went for a walk,” etc., and sometimes direct: “I didn’t want to.” – he fights”, “I don’t want him to live with us”, etc.

Of great interest are those drawings in which the child does not draw himself or, instead of his family, draws only himself. In both cases, this indicates that the child has an undeveloped sense of community. The absence of “I” in the picture is more typical for children who feel rejected and rejected. the depiction of only “I” in a drawing can be interpreted differently, depending on the context of other characteristics of the drawing. If the presentation of only the “I” is characterized by a positive concentration on drawing oneself (a large number of body details, colors, decoration of clothes, a large figure), then this, along with the lack of a sense of community, also indicates a certain self-centeredness, hysterical character traits. If the drawing of oneself is characterized by a small size, sketchiness, if the drawing contains other details and color scheme If a negative emotional background has been created, then we can assume the presence of a feeling of rejection, abandonment, and sometimes autistic tendencies.

An increase in family composition is also informative. This is due to unmet psychological needs in the family. Examples include drawings of only children - they are relatively more likely to include strangers in family drawings. If, in addition to family members, a child of the same age is drawn (a cousin, a neighbor’s daughter, etc.), this is a reflection of the need for equal, cooperative ties; if younger - the desire to take a protective, parental, leadership position in relation to other children (drawn dogs, cats, etc., in addition to family members, can give the same information).

Location of family members

It points to some psychological characteristics relationships in the family.

Family cohesion, drawing family members with joined hands, their unification in common activities are indicators of psychological well-being, perception of family integrability, inclusion in the family, except in cases where the close arrangement of figures is an attempt by the child to unite and unite the family. Drawings with opposite characteristics (disconnected family members) may indicate a low level of emotional connections.

Psychologically interesting are those drawings in which part of the family is located in one group, and one or more individuals are distant. If a child draws himself from a distance, this indicates a feeling of exclusion and alienation. In the case of separation of another family member, one can assume a negative attitude of the child towards him, sometimes judge the threat posed by him, or his low significance for the child.

Grouping family members in a drawing sometimes helps to highlight the psychological microstructures of the family and coalition.

The weakness of positive interpersonal connections is also indicated by the separation of family members by objects, the division of the picture into cells into which family members are distributed.

It is believed that the character who, in the child’s opinion, has the greatest power in the family is located highest in the picture, although he may be the smallest in linear size. Below everyone is the one whose power in the family is minimal. The principle of vertical hierarchy also extends to the world of objects.

Analysis of the features of drawn figures

Features of the graphic representation of individual family members provide valuable information about the child’s emotional attitude towards an individual family member, about how the child perceives him, about the child’s “I-image”, his complete identification, etc.

When assessing a child’s emotional attitude towards family members, you should pay attention to the following points:

1) number of body parts. Are there: head, hair, ears, eyes, pupils, eyelashes, eyebrows, nose, cheeks, mouth, neck, shoulders, arms, palms, fingers, legs, feet;

2) decoration(details of clothing and decoration): hat, collar, tie, bows, pockets, belt, buttons, hairstyle elements, complexity of clothing, jewelry, patterns on clothing, etc.;

3) the number of colors used to draw the figure.

Generally good emotional relationships with a person are accompanied by positive concentration on his drawing, which as a result is reflected in more body details, decoration, use of various colors. And vice versa, a negative attitude towards a person leads to a more schematic and incomplete image. Sometimes the omission of significant parts of the body (head, arms, legs) in the drawing may indicate, along with a negative attitude towards him, also aggressive impulses towards this person.

The perception of other family members and the “I-image” of the person drawing can be judged by comparing the sizes of the figures. Children usually draw their mother or father as the largest, which corresponds to reality. However, sometimes the ratio of the sizes of the drawn figures clearly does not correspond to the real ratio of the sizes of family members, since the size of the depicted character or object expresses its subjective significance for the child, i.e. what place does the relationship with this character or object have on this moment in the soul of a child. Some children draw themselves as the largest or equal in size to their parents, which is due to: a) the child’s self-centeredness; b) competition for parental love with another parent, in which the child equates himself to the parent of the opposite sex, excluding or reducing the “competitor”. Children who: a) feel insignificant, useless, etc.; b) requiring guardianship and care from parents. In general, when interpreting the size of figures, a psychologist should pay attention only to significant distortions of figures.

It can also be informative absolute value figures. Large figures across the West Sheet are drawn by impulsive, self-confident children prone to dominance. Very small figures are associated with anxiety and a feeling of insecurity. If a group of small figures is depicted at the top of the sheet, and the large lower part of the sheet is empty, then this indicates that low self-esteem combined with a high level of aspirations.

You should also pay attention to drawing individual parts of the body, since individual parts of the body are associated with certain areas activities, are means of communication, control, movement, etc. Let's analyze the most informative parts of the body.

Hands are the main means of influencing the world, physically controlling the behavior of other people. If a child draws himself with his arms raised up, with long fingers, then this is often associated with his aggressive desires. Sometimes such pictures are drawn by outwardly calm, easy-going children. It can be assumed that the child feels hostility towards others, but his aggressive impulses are suppressed, or he seeks to compensate for his weakness, wanting to be strong and dominate others. The latter will be more reliable if the child, in addition to “aggressive” hands, also draws broad shoulders or other attributes, symbols of “masculinity” and strength. Sometimes a child draws all the family members with hands, but “forgets” to draw them for himself. If at the same time the child draws himself as disproportionately small, then this may be due to a feeling of powerlessness, his own insignificance in the family, with the feeling that those around him are suppressing his activity and controlling him excessively. Interesting drawings in which one of the family members is drawn with long arms and thumbs. Most often, this indicates the child’s perception of the aggressiveness of this family member. The more powerful a given character is perceived to be, the larger his hand. The image of a family member without arms at all can have the same meaning - in this way the child limits his activity by symbolic means.

If there are more than five fingers on the hand, then the child feels (or the corresponding character) more equipped, strong, powerful (if on the left hand, then in the sphere of family relationships, if on the right, then in the world outside the family: at school, garden, in the yard, etc.), if less, then weaker than others.

Legs perform the function of support in reality and freedom of movement. How larger area supports at the feet, especially since this character is perceived as standing firmly on the ground.

Head– center of localization of the “I”, intellectual and perceptual activity; The face is the most important part of the body in the communication process. Already children from the age of 3 in the drawing must draw the head and some parts of the body. If children over five years of age (of normal intelligence) omit parts of the body (eyes, mouth) in the drawing, this may indicate serious impairments in communication, isolation, or autism. If, when drawing, the head, facial features are omitted or the entire face is shaded, then this is often associated with a conflictual relationship with this person, a hostile attitude towards him. It is assumed that the child considers the “smartest” member of his family to be the person whom he has endowed with the largest head. The facial expressions of the drawn people can also be an indicator of the child's feelings towards them. However, remember that children tend to draw smiling people. Therefore, facial expressions are only meaningful when they are different from each other. Girls, more than boys, pay attention to drawing faces, depicting more details. Therefore, concentration on drawing a face may indicate good gender identification in girls and preoccupation with physical beauty, the desire to compensate for one’s physical shortcomings, and the formation of stereotypes of female behavior in boys.

You should know that with age, a person’s drawing becomes enriched with new details. Each age is characterized by certain details, and their omission in the drawing is associated with the denial of some functions, with a conflict.

Characters with large, wide eyes are perceived by the child as anxious, restless, and in need of being saved. Characters with eyes like “dots” or “slits” carry an internal ban on crying, expressing the need for dependence, and are afraid to ask for help. The character with the biggest ears, more than all the others, must listen to those around him. A character depicted without any ears at all may ignore what other people say about him.

Neck symbolizes the ability to rational self-control, control of the mind (“head”) over the feelings (“body”). The character who has a neck in the drawing is able to control his feelings in the perception of the author of the drawing, but the one who does not have a neck is not capable. If the neck in the drawing is long and thin, then in the mind of the person drawing the conflict between the mind and feelings is resolved through self-removal from the world of one’s own strong emotions. on the contrary, if the neck is short and thick, then this character has harmony between the mind and feelings.

Distortions child's image of a man walking along right side drawn character, reflect the problems of relationships with the world social norms and those people who express them for the child. Distortions on the left side of the body reflect problems in relationships with the closest people in the area of ​​emotional attachments. A circuit break literally means the permeability of the corresponding locus of the body for external influence, especially if the outlines of other body parts are drawn without a break.

Analysis of the drawing process

When analyzing the drawing process, you should pay attention to:

A) the sequence of drawing family members;

B) the sequence of drawing parts;

B) erasure;

D) return to already drawn objects, details, figures;

E) spontaneous comments.

Interpretation of the drawing process requires the practical experience of a psychologist and his intuition. Often it is this level of analysis that provides the most meaningful, deep, significant information, since behind the dynamic characteristics of drawing lie changes in thoughts, actualization of feelings, tension, and conflicts.

Drawing of teeth and highlighting of the mouth is a sign of oral aggression. If a child draws this way not of himself, but of another family member, then this is often associated with a feeling of fear, the perceived hostility of this person towards the child.

The child is the first to portray the main or most significant, emotionally loved one. As a rule, this is the mother. The fact that children draw themselves first indicates their egocentrism as age characteristics. Based on this, the drawing sequence is more informative in cases where the child draws first not himself or his mother, but another family member. When a child draws his mother last, this is associated with a negative attitude towards her.

The sequence of drawings of family members can be more reliably interpreted in the context of analyzing the features of the graphic representation of the figures. If the first drawn figure is the largest, but is drawn schematically and not decorated, then such an image indicates the child’s perceived importance of this person, strength, dominance in the family, but does not indicate the child’s positive feelings towards him. However, if the first figure is carefully drawn and decorated, then one can think that this is the most beloved family member whom the child reveres and wants to be like.

Usually children, having received the task of drawing a family, begin to draw family members. Some children first draw various objects, the base line, the sun, furniture, etc. and only lastly do they begin to depict people. It is believed that this sequence of task completion is a kind of defensive reaction, with the help of which the child postpones an unpleasant task in time. This is most often observed in children with dysfunctional family situations, but it can also be the result of poor communication between the child and the psychologist. There is another opinion that if a child’s drawing shows many inanimate objects and few people, then this does not indicate emotionally poor relationships in the family, but about what these emotions are directed towards. Images of a large number of objects related to the same activity emphasize the special significance of this activity for family members. for example, the abundance of upholstered furniture and the presence of adult characters on it means a particular value for this family of rest and relaxation.

Returning to drawing the same family members, objects, details indicates their significance for the child.

Pauses before drawing certain details or family members are most often associated with conflicting relationships and are an external manifestation of internal contradiction. At an unconscious level, the child seems to decide whether or not to draw a person or detail associated with negative emotions.

Erasing what has been drawn or redrawn can be associated with both negative and positive emotions towards the family member being drawn. The final result of the drawing is decisive. If erasing and redrawing did not lead to noticeably better graphic image– one can judge the child’s conflictual attitude towards this person.

The child’s spontaneous comments often clarify the meaning of the content being drawn and reveal the most emotionally “charged” parts of the drawing. Therefore, you need to listen to them carefully. It is possible that they can help guide both post-drawing questions and the interpretation process itself.

** Other researchers recommend using only a simple pencil for drawing (the pressure is better visible) and under no circumstances allowing the use of an eraser. “If the child considers that his drawing is completely “spoiled,” notes V.K. Losev, - then, as a last resort, offer him another sheet, and then compare the difference between the first drawing and the second” (Loseva V.K. Drawing a family: Diagnostics of family relationships. M., 1995).

Table 3.3.

Results of the “Family Drawing” method (in points)

The results of the subjects were summarized (see table 2.5., diagram 2.3).

Table 3.4.

Generalized results using the “Family Drawing” method

Diagram 3.2.

So, let’s analyze the results obtained during the diagnostic process. The following is observed in the group of respondents:

1) with a high level of disturbance of the psycho-emotional state of the family: 60% of total number respondents. Among girls this figure is 50%, and among boys 70%;

2) with increased level disorders of the psycho-emotional state of the family: 30% of the total number of subjects. For girls the figure is 40%, for boys 20%.

3) with an adequate level of disturbance in the psycho-emotional state of the family: 10% of the number of children. For girls and boys it is 10%.

It can be seen that in the group of subjects more high level aggressiveness, anxiety, conflict in the family.

Based on the above and having carried out a qualitative and quantitative analysis of the diagnostic results, summarizing all the data obtained during the study, we have come to the end of the experiment and believe that corrective work should be carried out among children to improve the family atmosphere between parents and children.

CONCLUSION

So, our research was devoted to studying the influence of psychological and pedagogical conditions in the family on the formation of the child’s personality.

The main results of the work include the following:

The concept of personality is given and the structure of personality in psychology is studied;

Personality theories in Russian psychology are analyzed;

Modern concepts of psychological approaches to the study of personality are defined;

The family is considered as a functional system;

The features of the formation of a child’s personality in the family are revealed;

An empirical study of the development of a child's personality in the family was conducted.

The family is the most important institution for the socialization of the individual. It is in the family that a person gains his first experience social interaction. For some time, the family is generally the only place for a child to gain such experience. Then social institutions such as kindergarten, school, and street are included in a person’s life. However, even at this time, the family remains one of the most important, and sometimes the most important, factor in the socialization of the individual. Socialization in the family occurs both as a result of a purposeful process of upbringing and through the mechanism of social learning. In turn, the process of social learning itself also proceeds in two main directions.

On the one hand, the acquisition of social experience occurs in the process of direct interaction between the child and his parents, brothers and sisters, and on the other, socialization is carried out through observing the characteristics of the social interaction of other family members with each other.

Family is the leading factor in the development of a child’s personality, on which the further fate person. The relationship between parents constitutes the microclimate of the family, which directly affects the emotional well-being of all its members, through the prism of which the rest of the world and their place in it are perceived.

Depending on how adults behave with the child, what feelings and attitudes are expressed by loved ones, the child perceives the world as attractive or repulsive, benevolent or threatening. The well-being of a child in the family is transferred to other areas of relationships and vice versa; a conflict situation in the family, the lack of spiritual closeness between its members are the basis of developmental and upbringing defects.

A child is usually a fairly accurate reflection of the family in which he grows and develops. The family largely determines the range of his interests and needs, views and value orientations. The family provides conditions for the development of natural inclinations. Moral and social qualities of an individual are also established in the family. Any deformation of the family leads to negative consequences in the development of the child’s personality.

LIST OF REFERENCES USED

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Antsyferova L.I. Psychology of personality formation and development // Man in the system of sciences. – M., 1989.

Afanasyeva T.M. Family. – M.: Enlightenment. – 2005.

Bozhovich L. I. Personality and its formation in childhood. – M.: "Enlightenment", 2000.

Wenger A.L. Mental development baby in progress joint activities// Questions of psychology. – 2001, No. 3.

Vygotsky L.S. Favorite psychol. research. – M.: Publishing house of the APNRSFSR, 1956.

Glukhanyuk N. S. Workshop on psychodiagnostics: Textbook. allowance/N. S. Glukhanyuk; Ross. academic education, Moscow. psychol.-social.in-t.-2nd ed., revised. and additional – M.; Voronezh: MPSI: MODEK, 2005. – 204 p.

Golubeva E.A. Individual characteristics of human memory. – M.: 1980.

Diagnostics in kindergarten. Content and organization of diagnostic work in a preschool educational institution. Toolkit. Ed. 2nd. – Rostov-on-Don: “Phoenix”, 2004. – 288 p.

Znakov V.V. Self-understanding and social cognition// Personality and society: Actual problems modern psychology (Materials of the All-Russian Symposium). – Kostroma: Kostroma State University them. ON THE. Nekrasova. 2000.

Kameneva T.N. The influence of the family on the process of formation of the child’s personality // II All-Russian Scientific Conference Sorokin Readings-200. The future of Russia: development strategies. – 2005, December 14-15.

Kovalev A.G. Personality psychology. – M.: "Enlightenment", 1999.

Kovalev S.V. Psychology of family relationships. – M.: Pedagogy. – 2001.

Kovalev S.V. Psychology of the modern family: a book for teachers / Kovalev S.V. – M.: Education, 1988. – 208 p.

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Lebedenko E.N. Development of self-awareness and individuality. Issue 1. What am I? Methodical manual. – M.: Prometheus; Book lover, 2003. – 64 p.

Leontyev A.N. Lectures on general psychology. – M., 2001.

Loseva V.K. Drawing a family: Diagnosis of family relationships. – M.: Association “Vocational Education”, 1995.

Merlin V.S. Essay on an integral study of individuality. – M.: Pedagogy, 1986.

Myasishchev V.N. Psychology of relationships. Selected psychological works. – M.: MPSI, 2004. – 400 p.

Pedagogy // Ed. Yu. K. Babansky. – M.: Enlightenment. – 1983.

Petrenko V.F. Psychosemantics of consciousness. – M.: MSU, 1988.

Petrovsky A.V. Theoretical psychology/A.V.Petrovsky, M.G.Yaroshevsky. – M.: Academy, 2001. – 496 p.

Personality psychology in the works of domestic psychologists. – St. Petersburg, 2000.

Rubinshtein S.L. Fundamentals of general psychology. – St. Petersburg, 2000.

Starovoytenko E.B. Psychology of personality (in the paradigm of life relationships). – M., 2004.

You understand me? Tests for children 5-7 years old with recommendations from a psychologist / Comp. T. V. Vasilyeva. – St. Petersburg: Aksident, 1994.

Uznadze D.N. Psychology of attitude. – St. Petersburg: Peter, 2001.

APPLICATION

Annex 1

Questionnaire for a child “Family through the eyes of a child”

Who do you live with?

Do you like spending time at home? Do you want to quickly go home from kindergarten in the evening? (Yes, no, not always)

Do your parents often talk to you about your affairs? (Yes, no, not always)

Do they speak kindly rather than strictly? (Yes, no, not always)

Are you calm at home? Not scary? (Yes, no, not always)

Do your parents often play with you? (Yes, no, not always)

Which family member plays with you more often?

If you break something, will your mom help you fix it or will she scold you? And dad? (Yes, no, not always)

If you wanted new toy, chocolate or kinder surprise, will your parents buy them for you right away? (Yes, no, not always)

If someone offended you or you were just upset, would you immediately tell your mom about everything? What about dad? Won't you tell anyone?

What do you like to do most on your days off?

Do you often go somewhere with your parents or play on weekends? (Yes, no, not always)

If it's time for you to go to bed and you want to play some more, do your parents allow you? (Often, sometimes, rarely)

When you go to bed in the evening, does mom or dad kiss you and say good night? (Often, sometimes, rarely)

If you want to, but find it difficult to say anything, what will your parents do? (They will listen patiently and help you finish the thought; they will send you to another parent; they will not want to listen at all)

Appendix 2

Test "Ladder"

Purpose: study of self-esteem of children 4 – 6 years old.

Stimulus material of the “Ladder” test

Drawing of a staircase consisting of seven steps. In the middle you need to place the figure of a child. For convenience, a figurine of a boy or a girl can be cut out of paper and placed on the ladder depending on the gender of the child being tested.

Instructions

Look at this ladder. You see, there is a boy (girl) standing here. Good children are placed on the higher step (they show), the higher, the better the children, and at the very top step are the best kids. Not very good children are placed one step lower (they show), even lower ones are even worse, and at the very bottom step are the worst kids. On what level will you place yourself? What step will your mother put you on? Dad? Teacher?

Carrying out the test

The child is given a piece of paper with a ladder drawn on it and the meaning of the steps is explained. It is important to check whether the child understood your explanation correctly and, if necessary, repeat it. After this, questions are asked and the answers are recorded.

Analysis of results

First of all, they pay attention to what level the child has placed himself on. It is considered normal if children of this age put themselves on the level of “very good” and even “very good” children. In any case, these should be the upper steps, since a position on any of the lower steps (and even more so on the lowest) does not indicate an adequate assessment, but a negative attitude towards oneself, lack of confidence in one’s own abilities.

This is a very serious violation of the personality structure, which can lead to depression, neuroses, and asociality in children. As a rule, this is associated with a cold attitude towards children, rejection or harsh, authoritarian upbringing, in which the child himself is devalued. He comes to the conclusion that he is only loved when he behaves well.

And since children cannot be good all the time, and certainly cannot meet all the claims of adults, fulfill all their demands, then, naturally, children under these conditions begin to doubt themselves, their abilities and the love of their parents for them. Children who are not taught at all at home are also unsure of themselves and of parental love. Thus, extreme neglect of a child, as well as extreme authoritarianism, constant guardianship and control, lead to similar results.

The answers to the question about where adults will place them - dad, mom, teacher - speak specifically about the attitude of parents towards the child and their requirements. For a normal, comfortable feeling of self, which is associated with the emergence of a sense of security, it is important that one of the adults puts the child on the highest level. At the same time, the children say: “Well, I’m not the best, sometimes I play around. But my mother will put me here, she loves me.” Answers of this type indicate that the child is confident in the love of an adult and feels protected, which is necessary for normal development at this age.

A sign of trouble both in the structure of the child’s personality and in his relationships with close adults are answers in which all his relatives put him on the lower steps. However, when answering the question “Where will the teacher put you?” placement on one of the lower steps is normal and can serve as evidence of adequate, correct self-esteem, especially if the child really behaves badly and often receives comments from the teacher.

Appendix 3

Methodology "Family Drawing"

Target. Diagnosis of intra-family relationships. The test helps to identify the child’s attitude towards his family members, how he perceives each of them and his role in the family, as well as those relationships that cause anxious and conflicting feelings in him.

Order of conduct. From a conversation with a child, which is traditionally held after the drawing process itself, you should learn:

a) whose family is depicted in the drawing - himself, or some friend, or a fictional character;

b) where the depicted characters are and what they are doing at the moment;

c) if we take each character separately, what gender is he and what is his role in the family;

d) which of them is the nicest and why, who is the happiest and why, who is the saddest and why, who does the child prefer out of all the characters and why, if everyone gathered for a car ride, but there was not enough space for everyone, then who one of them would stay at home;

e) if one of the children behaves badly, how will he be punished.

Interpretation - Corman's method ("Family Drawing" test)

1. Structure of the drawing. Regarding the basic structure of the drawing, we can say that the most rational natures are dominated by isolated figures that are not in contact with each other, while the most receptive, sensitive children tend to depict a family with greater dynamics, for example, engaged in some kind of activity, in motion.

2.The most attractive character. If one is present in the figure, then it can be identified by the following characteristics:

The most valued character is drawn first, and first on the left, in the foreground;

He is taller and larger than the other characters;

Completed with more love, every single detail is completed;

The remaining figures are turned in his direction and look at him.

The family member closest to the subject can be identified by his clothing, which distinguishes him from other family members, but is similar to the clothing of the character with whom the subject identifies. Usually this is one of the siblings (brother or sister) with whom he has developed a good relationship.

3.Least attractive character. The opposite, least valued character, in the figure the smallest of all, is performed last and is located away from the other figures, as if forgotten by everyone. This character may receive a typical treatment at the end of the work: he is usually crossed out with a few pencil strokes or erased with an eraser.

4.Relationship between characters. Attention should be paid to the following question: is there a relationship between what the child portrayed and the real life of the family. If, for example, the characters hold hands or, conversely, stand with their backs to each other, this may correspond or contradict the real situation in the family. If two characters are depicted side by side, this should not be understood except as his perception of their special closeness, to which he attaches significance and which may or may not correspond to reality. If some character, valued by him or not, is removed from other figures in the drawing, this may indicate the distance that the child notices in life and highlights.

Sometimes a child draws himself much brighter and more detailed than his parents, who seem to create a background for him. Such drawings often show the child's attitude towards himself as someone important, unique, and towards others as less significant and attractive. This may be due to the fact that parents, being dissatisfied with themselves, life and the world around them, strive to realize their hopes through their child, placing themselves in a secondary position in relation to him.

An insignificant, weak-willed figure surrounded by parents, in which the child recognizes himself, can express his helplessness, the need to take care of him. This may be due to the fact that he is accustomed to the atmosphere of constant and excessive care that surrounds him in the family (this is often observed in families with only child), therefore he feels weak and can even abuse this, manipulating his parents and constantly demanding help and attention from them.

The child can add both people and animals to the family drawing to fill the voids that he feels in real life. Thus, only children, for example, very often include cousins ​​or brothers, cats, dogs, etc. in their drawing, which expresses a lack of close communication with other children and the need to have a constant companion in games with whom one could communicate on equal terms.

The figure of a man located next to the figure of the father indicates a strong sense of competition and the desire of the child to take the same strong and authoritative place in the family as the father. A cat depicted next to one of the family members (unless, of course, there is no cat in the house) speaks of desire Great love and affection from the character depicted next to the cat.

Appendix 4

Examples of children’s drawings using the “Family Drawing” method

Program

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This drawing test can be used with children over 5 years of age. This test is based on the understanding that children evaluate their parents’ behavior, relationships in the family and their place in it in their own way. For many parents, the results of this test may be quite unexpected, because adults and children evaluate the same thing differently.

Instructions.

The child is given a standard sheet of paper, a set of colored pencils (it is better not to give a simple pencil) and asked: “Please draw your family.” Perplexed questions: “Who is this?”, “What is this?”, “I don’t want to” - indicate that the child has not yet formed the concept of “family”, or that there is anxiety associated with family relationships. In such cases, you can ask the child to draw a family of animals.

Consider the following points:
Keep track of your child's usual mood. This task should not be given after family conflicts, quarrels, shake-ups. Otherwise, you will get a situational picture that corresponds to perception only at the moment.
Do not stand over the child while performing the task. Informationally, such a picture will be distorted by your control. It is better if you ask one of your good friends to conduct this test.
Do not discuss the results in front of your child - this is a test for you, for your thoughts and a better understanding of your child's emotional problems.
While drawing, be sure to keep track of the order in which characters and objects are depicted (it is important who he started drawing first, last, and not just how it looks in the drawing).

Rules of interpretation.
Rule 1.
There can be nothing random in a drawing. After all, the child does not draw objects from life, but expresses his emotions and experiences about people close to him and significant objects. Statements like: “I just forgot to draw my brother” or “I didn’t get my sister” should lose meaning for you. If one of the family members is missing from the picture, this may mean:
1. The presence of unconscious negative feelings towards this person, which the child, however, perceives as forbidden. For example, strong jealousy towards a younger brother or sister. The child seems to be reasoning: “I should love my brother, but he annoys me, and that’s bad. That’s why I won’t draw anything at all.”
2. Complete lack of emotional contact with the forgotten person in the picture. It’s as if this person simply doesn’t exist in the child’s emotional world.

Rule 2.
If the author himself is not in the picture, then you can build hypotheses in two directions:
1. Or these are difficulties of self-expression in relationships with loved ones: “They don’t notice me here,” “It’s difficult for me to find my place.”
2. Either: “I don’t even try to find my place or way of expression here,” “I’m fine without them.”

Rule 3.
The size of the depicted character or object expresses its subjective significance for the child, i.e. what place the relationship with this character or object currently occupies in the child’s soul.
For example, if in the picture the cat or grandmother is larger in linear dimensions than mom and dad, it means that now the relationship with the parents is in the background for the child.

Rule 4.
After the child finishes the drawing, be sure to ask him “who is who” in the drawing, even if it seems to you that you already understood everything. This is necessary because even if the number of characters is equal to the number of family members, one of the real family members may be missing, and instead there may be another, fictional character, such as Santa Claus or a Fairy.

Rule 5.
Fictional characters symbolize the unsatisfied needs of the child, he satisfies them in his fantasy, in imaginary relationships. If you meet such a character, then ask the child in detail about him - this way you will find out what the child is missing in life. Of course, this does not mean that you will be able to immediately give your child what he lacks and that you are to blame for the dissatisfaction of his desires. For example, the image of a fairy can symbolize a typical child's need for unhindered, uninterrupted, magical satisfaction of all his needs. The child still has to accept the impossibility of such satisfaction in order to learn to rely on his own strength.

Rule 6.
Carefully consider who is located higher on the sheet and who is lower. The highest in the picture is the character who, in the child's opinion, has the greatest power in the family, although he may be the smallest in linear size.
Below everyone is the one whose power in the family is minimal.
For example, if on the sheet above everyone else there is a picture of a TV or a six-month-old sister, it means that in the child’s mind they are the ones who “control” the rest of the family.

Rule 7.
The distance between characters (linear distance) is clearly related to psychological distance. In other words, who is the child in psychologically closest to everyone, he will portray him closer to himself. The same applies to other characters: those whom the child perceives as close to each other, he will draw next to each other.

Rule 8.
If a child draws himself very small in the space of a sheet, then he currently has low self-esteem.

Rule 9.
Characters that are in direct contact with each other in the drawing, for example with their hands, are in equally close psychological contact. Characters that do not come into contact with each other do not, in the child’s opinion, have such contact.

Rule 10.
The character or object that causes the greatest anxiety in the author of the drawing is depicted either with increased pressure of the pencil, or is heavily shaded, or its outline is circled several times. But it also happens that such a character is outlined by a very thin trembling line. The child seems hesitant to portray him. We recommend that you use pencils for drawing (the pressure is better visible) and paper without rulers or squares. The rules for interpreting children's drawings also apply to drawings by adults.

Rule 11.
The head is an important and most valuable part of the body. Intelligence and courage are in the head. The child considers the smartest member of his family to be the person with the biggest head. Eyes are not only for viewing the environment, eyes, from the point of view of a child, are given in order to cry with them. Crying is a baby's first natural way of expressing emotions. Therefore, the eyes are the organ of expressing sadness and asking for emotional support. Characters with large, wide eyes are perceived by the child as anxious, restless, and wanting to be helped.

Rule 12.
The ears are the “organ” of perceiving criticism and any opinion of another person about themselves. Characters with the biggest ears should listen to those around them the most. The character, depicted without ears at all, does not listen to anyone, ignores everything that is said about him.

Rule 13.
Why does a person need a mouth? To eat and talk? But only? Also in order to express aggression: scream, bite, swear, be offended. Therefore, the mouth is also an “organ” of attack.
A character with a large or shaded mouth is perceived as a source of threat (not necessarily just through shouting). If there is either no mouth at all, or it is depicted as a dot or dash, this means that he hides his feelings, cannot express them in words or influence others.

Rule 14.
Neck - symbolizes the ability for rational self-control of the head over feelings. The character who has it is able to control his feelings.
If a child does not have a neck in the drawing, then it seems to him that adults are demanding from him greater ability to control himself and restrain his emotions. But adult characters most often have a neck - they don’t have to restrain themselves, they can do what they want, they, in the child’s opinion, are already well-mannered.
A child who thinks this way wants to grow up quickly; he is characterized by unbridled actions when he decides that he has already become an adult (crisis periods).

Rule 15.
The function of the hands is to cling, join, interact with surrounding people and objects, i.e. be able to do something, change something.
How more fingers in the hands, the more the child feels the character’s ability to be strong, able to do anything (if on the left hand - in the sphere of communication with loved ones, in the family, if on the right - in the world outside the family, in kindergarten, yard, school and etc.); if there are fewer fingers, then the child feels internal weakness, inability to act.
The more significant and powerful the child perceives the character, the larger his hand.

Rule 16.
Legs are for walking, moving in an expanding living space, they are for support in reality and for freedom of movement. The larger the area of ​​support at the feet, the more firmly and confidently the character stands on the ground.
Right leg symbolizes support in extra-family reality, and the left - in the world of close emotional contacts.
Legs “hung in the air,” according to the child, do not have independent support in life. If the characters are depicted in one row, then mentally draw a horizontal line along the lowest point of the legs. And you will see who has stronger support.

Rule 17.
The sun in the picture is a symbol of protection and warmth, a source of energy. People and objects between the child and the Sun are what prevent him from feeling protected, using energy and warmth.
Image large number small objects - fixation on rules, order, tendency to restrain emotions. The image of a large number of closed parts (cabinets, buttons, windows) symbolizes for the child prohibitions, secrets that he is not allowed to see.

The rules given by the famous psychologist V.K. Loseva, which are recommended for interpreting family drawings, are enough for you to discover unexpected sides your family's life as noticed by your child.