Examples of descriptions of children's drawings house tree man. Correctional work of a psychologist at school

This test is used for intrapersonal diagnosis of a child.

The test was first proposed by J. Book in 1948. Initially, it was supposed to draw all these elements separately, but later the test was modified by another researcher - G. Burney. It was he who proposed to combine all three objects in one drawing, and it is in this version that psychologists currently use this test.

The purpose of this technique:

Assess the personality of the subject, the level of his development, performance and integration;

Obtain data relating to the scope of his relationship with the outside world in general and with specific people in particular.

To carry out the diagnosis, we need a sheet of A4 paper, multi-colored pencils, a simple pencil and an eraser.

Instructions for testing:

. "You need to draw a house, a tree and a person on the provided sheet of paper as well as you can. Think about the drawing for as long as you need."

Addition. In the drawing, a certain condition must be observed: a person must be drawn in full growth. There are no other restrictions in the choice of sizes, images and types of drawings when conducting this diagnosis.

When conducting a test, the psychologist must pay attention to such details in the behavior of the subject:

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The time interval from the moment the researcher provides instructions to the moment the drawing begins;

The presence and duration of pauses in the drawing process;

Total time for drawing;

In what sequence were the key elements of each drawing (house, tree and person) depicted in the figure?

All comments (if possible verbatim) spontaneously made by the researcher in the process of drawing;

Pay attention to any emotion (even the most insignificant) of the person being studied during the test, and then associate this emotional expression with the detail of the picture depicted at that moment.

After completing the drawing, it is necessary to conduct a survey in accordance with the proposed questionnaire.

Interpretation of the test house tree man

There are two ways to interpret this technique: a general analysis of the drawing and a detailed interpretation of each element of the drawing. General analysis suggests

The test is complete, its interpretation and a detailed transcript of each element can be downloaded below.

In conclusion, I would like to emphasize once again that, according to a couple of alarming signs in this testing it is impossible to judge completely about the problems of the individual.

Projective method of personality research. It was 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. Then a detailed survey is conducted. The author substantiates the choice of objects for drawing by the fact that they are familiar to every subject, are most convenient as objects for drawing, and, finally, stimulate freer verbal expressions than other objects.

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

From the drawing, one can judge the affective sphere of the personality, its 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 methodology as a tool for measuring intelligence and personality traits. The test is used in Russia, included in the Kern-Jerasek method.

Instruction

Material:

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

* post-drawing survey form;

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

* form of quantitative processing;

* management.

Individual testing

During individual testing, the researcher places a picture form in front of the subject, so that he sees only the second page with the inscription "House", located at the top from the point of view of the subject; after which he says

instruction:

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

If the subject expresses refusal (middle-aged and elderly people often do this), stating that he is not an artist, that when he went to school they did not teach him how to draw as they do now, etc., the researcher must convince the subject that DDT is not a test of artistic ability, in that it is not interested in the ability of the subject to draw as such. If the subject asks for a ruler or tries to use an object as a ruler, the researcher should tell him that the drawing must be done by hand. This is followed by similar instructions regarding tasks related to drawings of a tree and a human figure.

Record.

While the subject is drawing a house, a tree, and a person, the researcher must write down each time;

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

2) the names of the details of the drawings of a house, a tree and a person, in the order in which they were drawn by the subject, numbering them sequentially. Deviations from the sequence of depicting details that occur in the work of well-adjusted subjects usually turn out to be significant; an accurate record of such a case is necessary, since the omission of the examiner's deviation from the attention of the researcher 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, a tree and a person and correlate each such comment with a sequence of details. The process of drawing these objects may give rise to comments that at first glance are completely inconsistent with the objects depicted, which, nevertheless, can provide a lot of interesting information about the subject;

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

To keep records more successfully, the researcher must make sure 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 the 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 researcher to observe the drawing process.

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

2. Window with glass on the roof.

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

4. Porch posts.

6. Window, top right, with glass.

7. Window, lower left, with glass.

8. Window, top center, with glass.

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

10. Window, upper left, with glass.

11. Top window in the center, with glass.

12. Roof material.

13. Roof of the side porch and pillar.

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

15. Foundation.

16. Pause 18 sec.

17. "A couple of trees."

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

19. Road from the side porch.

20. Walkway from the front entrance.

21. "Let's allow it here" - a bush.

Time - 5 min 13 s

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

The relationship 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 written before a detail, but under one item, it means that it took place at the time when the subject began to draw this detail. If a comment or emotion was written under the same paragraph with a detail, but after it, then this happened later. If, apart from a spontaneous statement or emotion, nothing is written in the paragraph, then this happened after the previous detail was completed, and before the next one was started.

Post-drawing survey.

After the non-verbal phase of the DDS 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 has not been able to express until now. Clearly, if the subject is less withdrawn and hostile and more intelligent, the second phase of the DD can be more productive.

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

PRO is not a rigidly limited procedure, the researcher can always continue the survey in a way that is productive in his opinion. In all cases, he must determine exactly what meaning the stimulus words "House", "Tree" and "Man" have for the subject.

Post Drawing Survey Form

Ch1. Is it a man or woman (boy or girl)?

Ch2. How old is he/she?

Ch3. Who is he?

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

Ch5. What were you thinking about when you drew?

CH6. What is he doing? (Where is he at this time?)

Ch7. What is he thinking about?

CH8. What does he feel?

CH9. What does the drawn person make you think?

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. What do you feel about this person?

CH16. Do you think this is typical 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 the most? Why?

Ch20. How is this person dressed?

Dr1. What is this tree?

Dr2. Where is this tree actually located?

Dr3. What is the approximate age of this tree?

Dr4. Is this tree alive?

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

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

b) Does the tree have some dead part? If there is, then which one?

c) What do you think 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 do you think caused the death of the tree?

b) When do you think this happened?

Dr6. Who 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 were a person here instead of a tree, in which direction would he look?

Dr9. Is this tree standing 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 is blowing?

Dr14. Tell me more, what kind of wind is this?

Dr15. If you were to draw the 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 the most? Why?

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

D1. How many floors does this house have?

D 2. Is this house brick, wooden or something else?

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

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

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

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

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

b) With whom would you like to live in this house? Why?

D 7. When you look at a drawing of a house, does it seem close to you 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 that these qualities are common to most houses? Why?

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

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

D16. What does this house need the 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 has nothing to do with the house itself) there was a person, then who could it be?

At the end of the post-drawing survey, the researcher will have to find out the possible significance that the presence of unusual, the absence of “obligatory” details in the drawings, any unusual proportional, spatial or positional relationships between the 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 the drawing of a house as broken glass, a leaky roof, a collapsed chimney, etc., scars, broken or dead branches, shadows, etc. - in a drawing of a tree. It is generally accepted, for example, that scars on a tree trunk, broken or damaged branches, almost invariably symbolize "mental wounds" - a consequence of psychological trauma suffered by the subject in the past; the time when the traumatic episode (episodes) occurred can be determined by the location of the scar on the trunk, taking the base of the trunk (its part closest to the ground) for the period of early childhood, the top of the tree - for the present age of the subject, and the distances between them - for intermediate years. For example, if a 30-year-old subject drew a scar about one third of the trunk from its base, then the traumatic episode could presumably occur at 9-11 years of age. The researcher may ask, "What unusual thing happened to you when you were about 10 years old?" It is assumed that the subject can reflect in the picture 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 the shadow in the figure is of great importance and can be: 1) a symbol of the feeling of anxiety experienced by the subject at the conscious level; 2) the presence of a factor that, by its constant presence in the psychological present or in the recent past, probably interferes with normal intellectual performance. We are talking about the conscious level, because usually the shadows are depicted on the ground, which symbolizes reality. The deterioration of intellectual performance is confirmed by absent-mindedness; the shadow implies the subject's awareness of the existence of another element - the sun, which is usually forgotten to draw, this, in turn, has a certain qualitative value. The researcher needs to pay attention to which surface the shadow falls on: water, earth, snow or ice ...

In addition, he must find out the possible significance of scars or mutilations in a drawing of a person.

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

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

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

The time of the post-drawing survey is not limited. However, if the examination is prolonged and its volume exceeds the volume of the formal part (64 questions and the additional survey given above), then its completion is probably better to be postponed to the next session.

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

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

Group testing

Ceteris paribus, the DDS method is more productive in individual testing than in group testing. However, it is obvious that this method has a certain position among group tests. As such, it is best used as a screening test to identify within a group of subjects 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 the best possible house, tree and person in the listed order and tell them that they can erase my drawing as much as they want, without fear of penalties, that they can spend as much time as they need, and that each one, as soon as he finishes this or that drawing, must report it 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 the subjects should be fully informed of this before they begin to draw.

The researcher must show the subjects a drawing form and show them each page to complete the corresponding drawing. After that, they can start 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 about unobtrusively, observing them, and record instances of emotional manifestations, unusual sequences of details, etc., whenever he notices anything of the kind. Obviously, the observation will not be as complete as with individual examinations.

Post-drawing survey.

The researcher should give each subject a form with PRO and ask them to answer in writing the questions printed on this form.

Interpretation.

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

Home away - a feeling of rejection (rejection).

Home close - openness, accessibility and (or) a sense of warmth and hospitality.

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

Miscellaneous 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 adjust in interpersonal relationships.

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

Walls

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

The contour of the back wall is much brighter (thicker) compared to other details - the subject seeks 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 conflict tendencies, experiencing difficulties, anxiety.

A wall with an accentuated horizontal dimension is a poor orientation in time (the dominance of the past or the future). It is possible that the subject is sensitive to environmental pressure.

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

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

Wall: 1D 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 less contact with reality than is desirable.

doors

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

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

The doors are open - the first sign of frankness, reachability.

The doors are open. If the house is residential, this is a strong need for warmth from the outside or the 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 - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecisiveness in social situations.

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

The smoke is very thick - significant internal stress (intensity according to the density of the smoke).

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

Window

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

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

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

Windows without glass - hostility, alienation. The lack of windows on the first floor - hostility, alienation.

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

Roof

The roof is a realm of fantasy. The roof and chimney torn off by the wind symbolically express the feelings of the subject that they are commanded, regardless of their own willpower.

Roof, thick outline, uncharacteristic of the drawing - fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

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

Roof, thick outline of the edge - excessive concern for control over fantasy (curbing it).

A roof that is poorly combined with the lower floor is a bad personal organization.

The roof cornice, its accentuation with a bright contour or extension beyond the walls, is a heavily protective (usually suspicious) installation.

Room

Associations may arise in connection with:

1) the person living in the room,

2) interpersonal relationships in the room,

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

Associations can have a positive or negative emotional connotation.

Room that did not fit on the sheet - the unwillingness of the subject to depict certain rooms due to unpleasant associations with them or with their tenant.

Subject selects nearest room - suspiciousness.

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

Pipe

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

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

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

Drainpipes - enhanced protection and usually suspiciousness.

Water pipes (or drain pipes from the roof) are reinforced protective installations (and usually increased suspiciousness).

Add-ons

The transparent, "glass" box symbolizes the experience of exposing yourself to everyone. He is accompanied by a desire to demonstrate himself, but limited to only visual contact.

Trees often symbolize various faces. If they seem to "hide" the house, there may be a strong need for dependence under parental dominance.

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

The bushes are randomly scattered around the space or on both sides of the path - a slight anxiety within reality and a conscious desire to control it.

The path, well proportioned, easily drawn, shows that the individual, in contacts with others, exhibits tact and self-control.

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

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

Weather (what kind of weather is depicted) - reflects the experiences of the subject as a whole related to the environment. Most likely, the worse, more unpleasant the weather is depicted, the more likely that the subject perceives the environment as hostile, fettering.

Color

Color, its usual use:

green - for the roof;

brown - for walls;

yellow, if used only to depict the light inside the house, thereby displaying the 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-adapted, shy, and emotionally insecure subject usually uses no less than two and no more than five colors. A subject who paints a house with seven or eight colors is, at best, very labile. Using only one color is afraid of emotional excitement.

Color selection

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

Color black - shyness, fearfulness.

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

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power.

The color red is the most sensitive. Demand for heat from the environment.

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

Hatching that goes beyond the pattern is a tendency to 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 insecurity, danger. Often associated with a specific time value:

a) Right side- the future, left - the past,

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

c) indicating the specifics of experiences: the left side is emotional, the right side is intellectual.

perspective

Perspective "above the subject" (looking from the bottom up) - the 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 - the desire to move away from conventional society. Feelings of isolation, rejection. A clear tendency to separate from the environment. The desire to reject, not to recognize this drawing or what it symbolizes. Perspective, signs of "loss of perspective" (an individual correctly draws one end of the house, but draws a vertical line of the roof and walls in the other - he does not know how to depict depth) - signals the beginning difficulties of integration, fear of the future (if the vertical side line is on the right) or desire forget the past (line on the left).

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

Placement of the picture

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

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

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

3) the subject tends to stay away.

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

Placing the picture below the center of the sheet - the lower the picture is in relation to the center of the sheet, the more likely it is that:

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

2) the subject feels limited, constrained by reality.

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

Placing a picture in the upper left corner of the sheet is a tendency to avoid new experiences. 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 goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free, frank emotional experiences.

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

The contours are very straight - rigidity.

The contour is sketchy, used constantly - at best, pettiness, striving for accuracy, at worst - an indication of the inability to take a clear position.

"HUMAN"

Head

Sphere of intellect (control). Realm of imagination. A big head is an unconscious underlining of the belief about the importance of thinking in human activity.

The head is small - the experience of intellectual inadequacy.

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

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

An organ symbolizing the connection between the sphere of control (the head) and the sphere of drives (the body). Thus, this is their coordinating feature.

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

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

Long thin neck - inhibition, regression.

A thick short neck is a concession to one's weaknesses and desires, an expression of an unsuppressed impulse.

Shoulders, their sizes

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

Small shoulders - a feeling of low value, insignificance. The shoulders are too angular - a sign of excessive caution, protection.

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

Broad shoulders - strong bodily impulses.

torso

Symbolizes courage.

The body is angular or square - masculinity.

The body is too large - the presence of unsatisfied, acutely aware of the subject's needs.

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

Face

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

The face is underlined - a strong preoccupation with relationships with others, with one's appearance.

The chin is too emphasized - the need to dominate.

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

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

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

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

The eyes are depicted as empty eye sockets, a significant desire to avoid visual stimuli. Hostility.

Eyes bulging - rudeness, callousness.

Small eyes - self-absorption.

Lined eyes - rudeness, callousness.

Long eyelashes - coquettishness, a tendency to seduce, seduce, demonstrate oneself.

Full lips on the face of a man - femininity.

Clown's mouth - forced friendliness, inadequate feelings.

A hollow mouth is a 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 - fearfulness, shyness.

Facial expression obsequious - insecurity.

A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.

Eyebrows sparse, short - contempt, sophistication.

Hair

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

Hair heavily shaded - anxiety associated with thinking or imagination.

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

limbs

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

Wide arms (arm span) - an intense desire for action.

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

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

Arms crossed on chest - hostile-suspicious attitude.

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

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

Arms too long - overly ambitious aspirations.

Hands relaxed and flexible - good adaptability in interpersonal relationships.

Hands tense and pressed to the body - sluggishness, rigidity.

The arms are very short - lack of aspirations along with a feeling of inadequacy.

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

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

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

Hands are depicted close to the body - tension. Large hands and feet in a man - rudeness, callousness. Tapered arms and legs - femininity. Long arms - the desire to achieve something, to take possession of something.

Hands are long and weak - dependence, indecision, the need for guardianship.

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

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

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

Hand like a boxing glove - repressed aggression. Hands behind your back or in your pockets - guilt, self-doubt.

Hands vaguely defined - lack of self-confidence in activities and social relations.

Large hands - compensation for perceived weakness and guilt. Hands are absent in the female figure - the mother 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, impotence. Long fingers - hidden aggression. Fingers clenched into fists - rebellion, protest. Fists pressed to the body - a repressed protest. Fists away from the body - an open protest. Fingers are large, like nails (thorns) - hostility. The fingers are one-dimensional, looped around - conscious efforts against aggressive feelings.

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

The legs are too short - a feeling of physical or psychological awkwardness.

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

Legs of unequal sizes - ambivalence in the pursuit of independence.

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

Feet disproportionately long - the need for security. The need to demonstrate masculinity.

Feet 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 full face - 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.

The person depicted as running is the desire to run away, hide from someone.

A person with visible violations of proportions in relation to the right and left sides - lack of personal balance.

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

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

A person in a smooth light step - good adaptability.

Man - 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, they look in different directions - a particularly strong frustration with the desire to get rid of an unpleasant situation.

Unbalanced standing figure - tension.

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

A robot instead of a male figure - depersonalization, a feeling of external controlling forces.

Figure of sticks - can mean evasion and negativism.

The figure of Baba Yaga is open hostility towards women.

Clown, caricature - a feeling of inferiority inherent in adolescents. Hostility, contempt itself.

Background. Environment

Clouds - fearful anxiety, fears, depression. Fence for support, contour of the earth - insecurity. The figure of a man in the wind is the need for love, affection, caring warmth.

The base line (earth) - insecurity. Represents the necessary reference point (support) for constructing the integrity of the picture, gives stability. The meaning of this line sometimes depends on the quality attached to it by the subject, for example, "a boy rides a thin ice". The base is often drawn under a house or tree, less often - under a person.

The weapon is aggression.

Multidimensional Criteria

Line breaks, erased details, omissions, accentuation, shading - the sphere of conflict.

Buttons, belt plaque, underlined vertical axis figures, pockets - dependence.

Circuit. Pressure. Hatching. Arrangement Few curved lines, many sharp corners - aggressiveness, poor adaptation.

Rounded (rounded) lines - femininity. A combination of confident, bright and light contours - rudeness, callousness.

The contour is dim, unclear - timidity, timidity. Energetic, confident touches - perseverance, security.

Lines of unequal brightness - voltage. Thin extended lines - tension. The unbreakable, underlined contour framing the figure is isolation.

Sketchy outline - anxiety, timidity. Breaking the contour is the sphere of conflicts. Underlined line - anxiety, insecurity. sphere of conflict. Regression (especially in relation to the underlined detail).

Jagged, jagged lines - audacity, hostility. Confident solid lines - ambition, zeal.

The bright line is rudeness.

Strong pressure - energy, perseverance. Great tension.

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

Lines with pressure - aggressiveness, perseverance.

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 the 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. Hatching from left to right - the presence of motivation. Hatching from oneself - aggression, extraversion. Erasures - anxiety, apprehension. Frequent erasures - indecision, dissatisfaction with oneself. Erasing on redraw (if the redraw is more perfect) is a good sign.

Erasing with subsequent damage (deterioration) of the picture -

the presence of a strong emotional reaction to the object being drawn or to what it symbolizes for the subject.

Erasing without trying to redraw (i.e. correct) is an internal conflict or conflict with this detail itself (or with what it symbolizes).

Large drawing - expansiveness, a tendency to vanity, arrogance.

Small figures - anxiety, emotional dependence, feelings of discomfort and stiffness.

A very small figure with a thin contour - stiffness, a sense of low value and insignificance.

The lack of symmetry is insecurity.

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

Drawing on the whole sheet is a compensatory exaltation of oneself in the imagination.

Details

What is important here is their knowledge, the ability to operate with them and adapt to specific practical conditions of life. The researcher must notice the degree of the subject's interest in such things, the degree of realism with which he perceives them; the relative importance he attaches to them; the way these parts are connected together.

Significant details - the absence of significant details in the drawing of a subject who is known to be of average or higher intelligence now or in the recent past, more often indicates intellectual degradation or serious emotional disturbance.

An excess of details - the "inevitability of corporality" (inability to limit oneself) indicates a forced need to improve the whole situation, an excessive concern for the environment. The nature of the details (essential, non-essential or bizarre) may serve to more accurately determine the specificity of susceptibility.

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

Insufficient detail - tendencies to isolation.

Particularly scrupulous detailing - stiffness, pedantry.

Job Orientation

The ability to critically evaluate a drawing when asked to criticize it is the criteria for unlost contact with reality.

Acceptance of the task with minimal protest is a good start, followed by fatigue and interruption in drawing.

Apologizing because of the drawing is a lack of confidence.

In the course of drawing, the pace and productivity decrease - rapid exhaustion.

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

The left half of the figure is underlined - identification with the female gender.

Persistently draws, despite the difficulties - a good forecast, vigor.

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

WOOD

The interpretation according to K. Koch comes from 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 pattern always contains a permanent core (roots, trunk, branches) and ornamental elements (foliage, fruit, landscape). As already noted, the interpretation of K. Koch was aimed mainly at identifying pathological signs and features of mental development. In our opinion, there are a number of contradictions in the interpretation, as well as the use of concepts that are difficult to concretize. For example, in the interpretation of the sign "rounded crown", "lack of energy", "drowsiness", "nodding" and then "the gift of observation", "strong imagination", "frequent inventor" or: "insufficient concentration" - what? What is the reality behind this concept? Remains unknown. In addition, the interpretation of signs contains an excessive use of everyday definitions. For example: “emptiness”, “pomp”, “pomp”, “flat”, “vulgar”, “small”, “not far off”, “pretense”, “pretense”, “primness”, “pretentiousness”, “falseness” and right there - "the gift of constructiveness", "ability to systematics", "technical talent"; or a combination of "self-discipline", "self-control", "education" - "pomp", "swagger", "indifference", "indifference".

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

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

The earth sinks to the right edge of the sheet - a breakdown, lack of aspirations.

Roots

The roots are smaller than the trunk - craving for hidden, closed. The roots are equal to the trunk - a stronger curiosity, already presenting 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; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.

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

The arrangement on the sheet is dual - the attitude 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, balance with others. Indicates the need for a rigid and rigorous systematization based on habits.

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

foliage shape

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

The branches are omitted - loss of courage, abandonment of efforts. Branches up - enthusiasm, impulse, desire for power. Branches in different directions - the search for self-affirmation, contacts, self-spraying. Fussiness, sensitivity to the environment, lack of opposition to it.

Foliage-net, more or less dense - more or less dexterity in avoiding problem situations.

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

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

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

Closed dense foliage - hidden aggressiveness. Foliage details that are not related to the whole - insignificant details are taken as a description of the phenomenon as a whole.

The branches come out of one area on the trunk - children's search for protection, the norm for a child of seven years.

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

Thick branches are a good distinction of reality. Loop leaves - prefers to use charm. Palm tree - the desire to change places. Foliage-mesh - avoiding unpleasant sensations. Foliage as a pattern - femininity, friendliness, charm. Weeping willow - lack of energy, the desire for a solid support and the search for positive contacts; return to the past and childhood experience; difficulties in making decisions.

Blackening, shading - tension, anxiety.

Trunk

Shaded trunk - internal anxiety, suspicion, fear of being abandoned; covert aggressiveness.

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

A trunk from one line - a refusal to really look at things.

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

Foliage with thin lines - thin sensitivity, suggestibility.

Trunk lines with pressure - determination, activity, productivity.

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

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

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

The branches are not connected with 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 foliage - high intelligence, normal development, the desire to preserve the inner world.

The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.

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

The trunk expands downward - the search for a reliable position in its circle.

The trunk tapers downward - a sense of security in a circle that does not give the desired support; isolation and the desire to strengthen one's "I" against a restless world.

The overall height - the bottom quarter of the sheet - dependence, lack of faith in oneself, compensatory dreams of power.

The lower half of the leaf is less dependent and timid.

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

Sheet height (the page is divided into eight parts):

1/8 - lack of reflection and control. Norm for a child of four years,

1/4 - the ability to comprehend one's experience and slow down one's actions,

3/8 - good control and reflection,

1/2 - internalization, hopes, compensatory dreams,

5/8 - intense spiritual life,

6/8 - the height of foliage is directly dependent on intellectual development and spiritual interests,

7/8 - foliage on almost the entire page - flight into dreams.

Image manner

Sharp peak - defends itself from danger, real or imaginary, perceived as a personal attack; desire to act on others, attack or defend, difficulty in contacts; wants to compensate for the feeling of inferiority, the desire for power; seeking a safe haven due to feelings of abandonment to a solid position, need for tenderness.

The multiplicity of trees (several trees on one leaf) is childish behavior, the subject does not follow this instruction.

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

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

Landscape - means sentimentality.

Turning the leaf - independence, a sign of intelligence, prudence.

Earth

The earth is depicted with one line - focus on the goal, the adoption of a certain order.

The earth is depicted in several different ways - acting according to its own rules, the need for an ideal. Several joint lines depicting the earth 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, the tree, and the person is done. If a tree is drawn first, then the main thing for a person is vital energy. If the house is drawn first, then in the first place is safety, success, or, conversely, the neglect of these concepts.

Symptom complexes of aggressiveness in the test

Instructions for the drawing test "House"

Please draw a house (it doesn't have to be apartment house, there should not be a specific house belonging to you or your friends).

Material for testing requires a sheet of A4 paper, as well as a pencil. The sheet of paper should be white, not glossy, without any rulers or cells. Use a pencil of medium softness; Do not draw with a pen or felt-tip pens.

Questions for the drawing

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

When we look at windows, we associate with the eyes. If we remember children's drawings, young children have anthropomorphic houses (the roof is like hair, the windows are like eyes, etc.). According to Freud, if we see in a dream that we are looking for a house or walking inside a building, this is interpreted as that we are looking for ourselves or something inside ourselves. He clearly identifies a person and a house.

“My house is my fortress!”, - the roof of the inside of the house leaks in not quite healthy people. This is a natural self-identification.

doors
Door - communication. Therefore, if the door is located in front, then, as a rule, this person is quite sociable and sociable. But there are subtleties, for example, the door is in front, but a very high porch leads to it. This is typical for people who are selectively sociable, with such a tendency to select and check their acquaintances (“I have a narrow circle of friends and they are all proven and reliable for a long time”). A narrow porch is what a person makes people who want to get close to him go through some kind of test. Applicant for friendship, moving from step to step, passes the exam. Then - a well-designed, detailed painted porch (maybe as a separate house). If a person has alarming settings in contacts, he also draws a path. And if it is even stronger - it draws a path to the house. In addition, how the door is drawn: it can be drawn anxiously or blackened out, there may be a darkened handle or a peephole.

If the door is in front - it is better for communication, if on the side - some half-heartedness, he does not completely want to communicate, and if there is no door at all ("and the door is there, on the back facade"), then it's all the same that a person is standing with his back to us, isolation, unwillingness to make contact.

The door may be disproportionately small or so drawn that it is impossible to enter it.

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

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

The antennas on the roof and huge windows speak of a high need for information and knowledge.

If the windows are small or curtained - a person needs to quickly hide what he wants to hide.

It is interesting when these curtains are not simple, but when they are super-smart, with embellishments, frills - any embellishments speak of hysteroid tendencies, the desire to attract attention, demonstrate and show off.

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

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

Darkened windows are like a man wearing sunglasses and doesn't want his eyes to see. And empty windows - emotional impoverishment and lack of emotionality.

If the house does not make ends meet and has a foggy and insufficiently developed image, this will speak of its fuzzy image of its own "I".

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

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

The degree of elaboration of the roof: if it is a little sketched in the expected way - not disturbing, not detailed, rather conditional - this is also not specifically discussed.

And if the roof is well designed - for example, a lot of tiles, we can interpret. Both of these remind us of how a teenager often draws either a shell or a rib in a non-existent animal. Maybe both: a shell on the roof and a fence like a ridge. The shell is protection from pressure from above, and aggression is also directed upwards, protection from leading figures.

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

"Kandinsky-Clerambault Syndrome" - a syndrome of made thoughts, a person has the feeling that he is being watched, that his thoughts do not belong to him, but are put into the head of the KGB, a dentist, etc. He is imperatively ordered what he needs to do, where he needs to go, and so on. As a rule, they occur in people who were brought up in conditions when it was necessary to learn about every thought and examine everything under a microscope. Clinical patients draw transparent houses, which are like in geometry textbooks, where all the faces are visible. And then the feeling that any of his thoughts is fully read, that he can be seen through everything.

Pipes
Water pipes are phallic symbolism. The pipes that are on the house are of particular importance. Smoke - emotionality, the release of some affects or feelings. Therefore, when there is a pipe, but there is no smoke - control, excessive restraint. If the smoke is moderate and normal - approx. And if there is too much smoke - a very strong affective outburst, anger, explosion, irritation, etc. The smoke feels more than it should be.

If the pipe is there and of a normal size - the norm. If there is a pipe, and it is very brick, it is alarming, since this may be control over the sexual sphere.

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

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

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

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

She bakes pies and does not eat herself, treats her girlfriends - sublimation of needs for sex.

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

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

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

Just like the roof is the head, so the cellar or basement is the sex realm. Often, for example, men say that this is an unpleasant place, because there is only technique (no feelings, no relationships, but only technique). Maybe in adolescence. This is a rather unpleasant moment, because in adolescence there is a connection between the emotional and sexual components.

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

Schizophrenics who have schizophrenic mothers say that the most unpleasant place is in the chimney.

If they say that there are no unpleasant places, this is the displacement of problems. And you need him to say which place is the least pleasant.

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

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

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

Drawing a house provokes people to some kind of magic: the feeling that if you draw it all, you will have it. And people draw more. The second interpretation is that when the house is just drawn like that, you can follow who comes up there. But you see when he's quite close. And if you arrange a large territory - this is their entire territory, and thus the house standing in the center is even safer.

When a tree is drawn, there is only one's "I". And when the house - then there are powerful influences from childhood.

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

In order to trust that, for example, if there are big ears, then dependence on the opinions of others, and if there is a hollow in a tree, then psychotrauma, one must be in the subject. Most tend to discount what has been said.

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

Consider places cozy, uncomfortable

COZY PLACE

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

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

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

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

• non-intellectual, with a low education, reduced mental abilities, "losers" (such as "there is empty and there is nothing to do");
• Displacement of unpleasant thoughts, memories, problems. Refusal to work on yourself. Then they say that so much has been thrown in that you can break a leg, all the junk is piled up ...;
• When it's scary there (dark, mice, ghosts) - children's fears are not processed;

She bakes pies and does not eat herself, treats her girlfriends - sublimation of needs for sex.

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

Bedroom - if in a family there are emotional disassemblies in the family. Guest bedroom - possibly problems with casual sex.

BASEMENT, CELLER

Basement - sexual sphere

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

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

Often, for example, men say that this is an unpleasant place, because there is only technique (no feelings, no relationships, but only technique). Maybe in adolescence. This is a rather unpleasant moment, because in adolescence there is a connection between the emotional and sexual components.

The test can be taken by both adults and children, perhaps a group examination. The subject is asked to draw a house, a tree and a person (DDCH). Further, a survey is built according to the location of the elements and their characteristics. R. Berne, when using the DCF test, suggests drawing a house, a tree and a person in one drawing, occurring in one scene. The scientist believes that the interaction between these objects is 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, a sheet of paper of a standard size (A4).

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

Interpretation of features

A special way of interpretation may be the order in which the drawing of the house, the tree, and the person is done. If a tree is drawn first, then the main thing for a person is life energy. If the house is drawn first, then in the first place is safety, success, or, conversely, the neglect of these concepts. Now let's look at each component individually.

The house is old, collapsed. Sometimes the subject in this way can express an attitude towards himself. home away- feelings of rejection House near– openness, accessibility and (or)_feeling of warmth and hospitality. house plan(projection from above) instead of the house itself - a serious conflict Miscellaneous 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 to a blank wall (no doors), - a reflection of a conflict situation that is detrimental to a correct assessment of reality, the inaccessibility of the subject (although he himself may desire free cordial communication).

The back wall, located unusually, is a conscious attempt at self-control, an adaptation to conventions, but at the same time there are strong hostile tendencies. The outline of the back wall is significantly thicker (brighter) than the other details. The subject seeks 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). Wall with an accentuated outline of the base. The subject tries to force out conflicting tendencies, experiences difficulties, anxiety. A wall with an accentuated horizontal dimension is a poor orientation in time (the dominance of the past or the 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. Against the wall, the contours of the line are too accentuated - a conscious desire to maintain control. Wall in 1D 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 less contact with reality than is desirable.

Their absence - the subject has difficulty in trying to open up to others (especially in the home circle). Doors (one or more) rear or side - retreat, detachment, avoidance. The doors are open - the first sign of frankness, reachability. The doors are open. If the house is residential - this is a strong need for warmth from the outside or the 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 - unwillingness to let in your Self. Feelings of inadequacy, inadequacy and indecision in social situations. Doors with a huge lock - hostility, suspiciousness, secrecy, protective tendencies.

The smoke is very thick - significant internal stress (intensity according to the density of the smoke). Smoke in a thin stream - a feeling of lack of emotional warmth at home.

Windows - the first floor is drawn at the end - disgust for interpersonal relationships. Tendency to isolate from reality. The windows are very open. The subject behaves somewhat cheekily and straightforwardly. A lot of windows show readiness for contacts, and the absence of curtains - the lack of desire to hide their feelings. Windows heavily closed (curtained) - concern for interaction with the environment (if this is significant for the subject). Windows without glass - hostility, alienation. The lack of windows on the first floor - hostility, alienation. There are no windows on the lower floor, but there are on the upper floor - the gulf between real life and life in fantasy.

The roof is a realm of fantasy. The roof and chimney torn off by the wind is a symbolic expression of the subject's feelings that they are commanded regardless of their own willpower. The roof, a thick outline, not characteristic of the whole drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety. The roof, the thin contour of the edge - the experience of weakening control over fantasy. Roof, thick outline of the edge - excessive concern for control over fantasy (curbing it). A roof that is poorly combined with the lower floor is a bad personal organization. The cornice of the roof, its accentuation with a bright contour or extension beyond the walls, is a heavily protective (usually suspicious) installation.

The technique "House - Tree - Man" is used by a psychotherapist to diagnose a person or group. This technique is universal, because all three topics - house, tree, person - are clear even to small children. It is used in individual and group work, to identify common features in the group; in working with children who are just starting school; in personnel selection.

The instructions for this technique are very simple. The test-taker is asked to draw a house, a tree, and a person. The instruction does not contain additional comments and the subject draws them as he wants. The peculiarity of this technique is that the sequence of presentation of topics always remains unchanged, because. in accordance with the presented topic, the level of psychological difficulty increases, because a tree, especially a person, provokes personal reactions more strongly.

When drawing a house, a person always reflects issues related to his family, his place in it. Also, the house is a place where we are looking for warmth, comfort, care, love, security (for example, a house with a chimney from which smoke comes out is often associated with a desire for warmth and comfort).

A separate interpretation of the drawing of the house is possible. So if a child draws a house, then the drawing can reflect the attitude towards parents, brothers, sisters. The details of the house are important, as children under 8 usually draw a chimney vertically in relation to the sloping plane of the roof, this indicates that the child has crossed an important threshold in his cognitive development. An adult drawing a house can project his family relationships with his husband / wife.

But a more complete, accurate interpretation is possible after taking into account all the details of the three drawings, as well as comparing the results of other methods, the medical history.

1. Details:

 Basic (norm) - at least one door, one window, one wall, roof and chimney.

 Additional (bushes, flowers, path, etc.) - the need for additional ordering of the surrounding space, which is sometimes associated with a lack of a sense of security or a desire to control interpersonal conflicts.

2. Trumpet - a symbol of warm, intimate relationships; can sometimes be associated with phallic symbolism.

 Lack of a pipe - no warmth in the mental sphere or the presence of conflicts with an important male person.

 Too big pipe - the sexual sphere is too exaggerated, exhibitionistic tendencies are also possible.

 A lot of smoke - speaks of internal tension.

 At the base of the house, without stairs - inaccessibility in interpersonal contacts.

 Absence of a door - extreme difficulties in contacts with other people.

 Open doors - a strong need to receive heat from the outside world.

 Very large doors - excessive dependence on others.

 With a lock or with curtains - defensiveness, i.e. defensive position.

4. Fence around the house - the need for emotional protection.

5. Gutter - suspicion.

 Flat (one line between two walls) - lack of imagination or emotional retardation.

 A very large roof - the search for satisfaction in fantasies.

7. Shutters:

 Closed shutters - extreme defensiveness (defensive position).

 Open shutters - the ability to adapt in interpersonal contacts.

8. Path:

 Very long path – limited accessibility.

 A narrow path near the house, a wide one at the other end - the person is superficially friendly.

9. Walls (their solidity) - directly related to the strength of the Ego.

 No windows - hostility, flight.

 Only on the first floor is the gap between reality and fantasy.

 With vents - reserve, self-control.

 Without curtains - open, direct behavior.

Also, the location of the drawing on the sheet must be taken into account when interpreting:

 Drawing adjacent to the lower border of the sheet - lack of a sense of security in family or intimate life.

 House in perspective, viewed from below - denial of the house or feeling that it is impossible to achieve the desired situation at home.

 House in perspective, top view - denial of the home situation.

The tree drawing reveals specific situations of the past or reflects the personality traits of the person being tested. It shows long-term, unconscious feelings towards one's self.<Я>, the tree is also associated with the life role of the painter and his ability to accept rewards from the environment. It is much easier to project negative feelings about oneself onto a tree than onto a drawing of a house, while at the same time it evokes fewer direct associations than a drawing of a person.

Bolander K. and Koch K. proposed to take the image of a tree as a separate diagnostic indicator.

Deciphering symbols and signs (basic)

1. A very large tree - a tendency to aggression.

2. Small tree - low self-esteem.

3. Thin line - a feeling of inadequacy, indecision.

4. A tree consisting of only two lines, symbolizing the trunk and mugs instead of the crown - impulsiveness, variability.

5. Excessively stressed trunk - emotional immaturity.

6. Overly emphasized crown - emotional retardation, limited ability to reason.

7. Scars, hollow, broken branch - trauma, accident, illness, rape (the time of this incident corresponds to the position of the sign).

8. The absence of lines symbolizing the earth - susceptibility to stress.

9. The line of the earth is marked, but there are no roots - repressed emotions.

10. Darkened planes, very dark or heavily outlined - defensive hostility or aggressive behavior.

11. Thin dashed line - pronounced anxiety.

12. Hollow - sexual symbolism.

 Small or diamond-shaped - association with the vagina.

 Small or round - experience of sexual persecution or early sexual experience.

 Strongly marked contour - indicates a strong influence of the injury.

 Concentric circles inside - the experience left in the past, "healed".

 Shaded, shaded - shame associated with this experience.

 Large - capture by the idea of ​​reproduction.

 With a small animal in the middle - ambivalence regarding paternity or motherhood.