Methodology for the study of personality "House-tree-man" by J. Buck

Are you here: Ideal home

Instructions for the drawing test "House"

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

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

Where is this house located?
How many rooms are in the house?
Who lives in it?
Where is this house?
What is the most comfortable place in it, why?
Which place is the least comfortable, why?

When we look at windows, we associate with the eyes. If we remember children's drawings, small 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. The applicant for friendship, moving from step to step, takes an 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’s better for communication, if on the side there is some half-heartedness, he doesn’t fully want to communicate, and if there is no door at all (“and the door is there, on the back facade”), then it’s the same as a person 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

If the road leads past the house, this is a low interest to come to you. In general, the road is a social desirability. You need to show that the person is sociable.
When there are high windows and a high foundation and a high porch, there is a feeling of a certain fortress.
The door as a lattice is also an additional protection.

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 in a non-existent animal, a teenager often draws either a shell or a rib. 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

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

“Kandinsky-Clerambault Syndrome” is a syndrome of made thoughts, a person has a 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 with 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, of one's own, and the outside world is unpleasant, a feeling of hostility, insecurity and insecurity - all that does not apply 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 peers, very often communicate with younger children (if bad, they will spread rot and show aggression, if good, they will be satisfied that they need him 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.

UNCOMFORTABLE PLACE

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, of one's own, and the outside world is unpleasant, a feeling of hostility, insecurity and insecurity - all that does not apply 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;

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).

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.

Let's explore ourselves today. This test will help you get a little deeper into your inner world and what is most important to you right now. I will not overload you with classical interpretations of what you depict, but I will describe what I consider the most significant in my understanding. I recommend getting creative with the test! No one knows you better than you. I will try to give some clues, but you should try to hear your personal feelings!

So.
You need to take a sheet of paper and draw a house, a tree and a person. Try not to think about how to draw. Draw spontaneously! Let your hand draw objects however you want and in any order. Let the drawing be a surprise for you. There is no concept of "right" and "wrong". Only you will see it.

1. We analyze our emotions

What do you feel when you look at the picture? What emotions does the result evoke in you?
Here you can see how much you accept yourself in the creative process. How much you allow yourself to be yourself. If you like your drawing no matter how it turns out, you are friendly to yourself. If you have self-condemnation, you want to fix something - you do not accept a part of yourself, you do not want to hear your inner voice.

If you were asked to show the picture to another person, does your attitude towards the picture change?
Here you can track the fear of condemnation, criticism. A beautiful picture suddenly seems to no one interesting and not worthy of attention. This indicates low self-esteem, the dependence of the ability to express oneself on the opinions of others. Or maybe on the contrary, it seems to you that others will support you and you want to show your picture to everyone? (desire to be visible, to stand out, to be significant) Or do you care if others see your work or not? (Is it really indifferent, or are you hiding true emotions behind indifference?)

2. Analyze paper space

The figure is placed at the top of the sheet: the stronger it is pressed against the upper border of the sheet, the stronger the internal stress. There are certain situations in life that seem to force a person out of his life. This desire to escape from situations, for example, into a fantasy world.

The picture is placed at the bottom of the sheet.: the more the drawing is pressed to the lower border, the more internal depression and depressive states are felt. These are limitations, constraint, insecurity.

Figure is centered: insecurity and straightforwardness, seeking caring control for a sense of security and mental balance.

Placing a pattern on the left: your subconscious says that you focus on the past, impulsiveness is possible. Left-upper corner: the tendency to avoid new experiences.

Placing a picture on the right: focus on the future, controlled behavior.

If the picture pops up over the left border of the sheet - you are afraid of the future, and hiding in the past. If the drawing jumps out of the right edge - you do not want to have to do with the past and rush into the future in order to get away from unresolved problems, you want to control everything. If the drawing jumps out of the upper border, you are hiding in fantasies.

3. Meaning of objects

Each depicted object on the sheet means a certain part of yourself and your perception of the surrounding space. What is the general mood of the picture? Is it positivity/joy or sadness/sadness?

House

In classical literature, I did not find an exact definition of what a house means. Therefore, I rely on my inner feeling. For me, a house is a system of human values, its base, its outer shell, a system of interaction with the outside world. This is the person you are trying to introduce yourself to the people around you. Based on this description, analyze your drawing! I think you can figure out a lot on your own.

Describe your home in a few words. What is he? Your house is simple, complex, busy, incomprehensible, solid, detailed, unrealistic, old, new, correct, symmetrical… Do you like it? Would you like to live in it? What do you want to fix in it yourself? How do you think others would like to fix it? would you let them mend your house?

According to my personal feelings: if you focus on the foundation of the house, build steps to enter the house, then the material component of life is important for you, it is important for you to achieve something in life in order to consider yourself “worthy” of yourself.

The walls of the house are your personal boundaries. The wall separates the outside from the inside. From your perception of the wall, you can draw a conclusion about how you interact with society and the outside world. Are the walls doing their job well (do you feel protected)? Or did you depict a house without walls on pillars (and you are in unity with the surrounding space, allowing anyone to enter it)? If the house is depicted sideways, showing only one wall, this indicates closeness, oppositional views, aloofness (I will only show what I consider necessary and you will not know what my house really looks like). If the lines of the walls are thin and uncertain in comparison with the rest of the lines of the picture, you foresee a possible catastrophe.

Windows are contacts. The presence of windows in general indicates a willingness to interact. Open windows - cheeky behavior, straightforwardness, talkativeness. More windows - a tendency to a large amount of communication. Curtained windows - the desire to hide your feelings. Objects on the window (flowers, cats, etc.) - the desire to draw attention to communication about yourself with the help of third-party persons / situations / topics, shyness. Window size: harmonious with the house - there are enough contacts in a person's life, too large - there are empty conversations, very small - a feeling of closeness and uninteresting. Different windows on different floors - the difference between reality and fantasy, between words and deeds.

Doors - the desire to let people into your inner world. If they are not there or they are not visible to the direct eye - you are closed, an introvert, you let people in extremely selectively, it is not so easy to get through to you. If the door is visible, you are reachable, open to contact, intimacy, understanding. If the door is open - the desire to show their availability. Too big a door - the desire to surprise and dependence on the presence of the environment. Too small - indecision, inconsistency of the situation, not doing to let in your Self. Locked doors - hostility, closeness, suspicion.

Smoke is a manifestation of emotions. Thick - the thicker, the stronger the internal tension, indignation. Smoke in a thin stream - a feeling of lack of emotional warmth at home. There is no pipe - the lack of warmth at home (and my personal perception - I interpret the absence of a pipe as an unwillingness to share my emotions, a tendency to experience them in myself). The pipe is inconspicuous, imperceptible - unwillingness to deal with emotions, denial of one's emotions.

The roof symbolizes fantasy. A simple roof - no need for fantasy, realism. A complex roof is a rich imagination with a tendency to stick in fantasies. Thick lines - fixation on fantasies as a source of pleasure, control over fantasies. The thin lines of the roof, compared to the rest of the drawing, are an uncontrolled fantasy.

Wood

The image of a tree shows the individual characteristics of a person. In my opinion, a tree is a character trait, the inner content of a person.

tree type
Spruce with sharp needles draw people prone to dominance, active, with organizational skills.
schematic tree in the form of a common crown and trunk, people draw for whom details are not important. They are interested in general questions. philosophical inclinations.
detailed tree speaks of pedantry and accuracy. It occurs in people working as accountants, economists, for whom details matter.
aesthetic tree drawing people of art. Such a tree can be concise, but very peculiar.
Palma draw those who want to stand out, extravagant, romantic personalities. Not seated.
Second tree can mean a second loved one. One has to ask oneself with whom it is associated.
Story productions and flying birds, blowing wind and other attributes are drawn by people prone to inventing scenarios.
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.

Roots are a connection with the family. How strong and complex the root system is, how strongly you are connected with your clan, family, base your perception on the patterns that the generic program gives. Great emphasis on the root system - a great desire to know the secret, unhealthy interest and curiosity. I interpret the absence of roots with the general stability of the tree as independence from generic programs or the absence of their influence on the character of a person. But if the tree is unstable and tends to fall, this indicates a conflict within the clan, exclusion from the clan system, de-energization, deprivation of protection and support.

Barrel - inner rod. Too thin a trunk can indicate vulnerability. A thin but flexible rod is about the ability to withstand external pressure. Thick trunk - inflexibility, stability, concreteness. Detailed heavy trunk, hollow - complication, too many unfinished plans. The lines of the trunk are straight - dexterity, resourcefulness. The lines are crooked, wavy - anxiety, insurmountable obstacles. The trunk is wider below - the search for a reliable position in the environment, the trunk narrows downwards - isolation and the desire to strengthen one's "I". The bifurcation of the trunk indicates the presence of a close relationship with someone of the genus - a twin, sister / brother.

Krona is an emotional sphere. Round crown - emotionality. Round circles in the crown - the search for soothing and rewarding sensations. The branches are lowered - loss of faith in oneself, lowering hands. Branches up - the desire for power, enthusiasm. The branches stick out in different directions - the search for self-affirmation, spraying, fussiness. Foliage of curved lines - susceptibility. Dense closed foliage - hidden aggressiveness. The branches are drawn in one line - an escape from the troubles of reality, its transformation and embellishment. Foliage as a pattern - femininity, friendliness, charm. Blackening, shading - tension, anxiety.

Presence of fruits on the tree- focus on achieving goals, performance
Presence of nests and animals- the importance of connection with nature and the environment, the love of caring for animals.
detailed landscape- sentimentality
Strong shading on wood usually indicates a person's internal tension, emotional arousal, a state of anxiety.
Too large image sizes- inner looseness, freedom.

Human

Analyze your relationship with the person. Who is he? What is its gender? What is his mood? What is he thinking about? What is he trying to do? Where is?
In my understanding, in the image of a person, you can understand what situations you are currently living in. Something but that is worth paying attention to.

Head
Sphere of intelligence (control). Realm of the 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.

Neck It symbolizes the connection between the sphere of control (head) and the sphere of desires (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 little value, insignificance. Shoulders 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 emphasized - 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 overemphasized - possible auditory hallucinations. They are found 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, show off.

Full lips on the face of a man - femininity. Clown's mouth - forced friendliness, inadequate feelings. A hollow mouth is a passive significance.

Nose wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes. Nostrils - primitive aggression.

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

Arms- 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 over chest - hostile-suspicious attitude. Hands behind the 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. Strong hands - 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. Arms 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 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 - conscious efforts against aggressive feelings.

Legs disproportionately long - a strong need for independence and the desire for it. Legs are too short - a feeling of physical or psychological awkwardness. The drawing began 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. Legs are absent - timidity, isolation. The legs are accentuated - rudeness, callousness.

Feet- 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, looking in different directions - especially strong frustration with the desire to get rid of an unpleasant situation.

Unbalanced standing figure - tension. Dolls - compliance, the experience of dominance of the environment. A robot instead of a male figure is depersonalization, a feeling of external controlling forces. The figure of the 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.

Other details

Track, good proportions, easily drawn - tact and self-control in communicating with other people. 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 towards the house - an attempt to mask the desire to be alone, combined with superficial friendliness.

Weather (what weather is shown)- reflects the experiences associated with the environment as a whole. Most likely, the worse, more unpleasant the weather is depicted, the more likely that you perceive the environment as hostile, fettering.

conclusions

When analyzing your drawing, rely on your inner feelings! No one understands you better than you. Trust your instincts and then you will be able to discover something new and interesting about yourself.

There are many ways to identify and analyze the basic emotional and intellectual characteristics of a particular person. The "House, tree, person" (HTP) technique is an interesting and informative test that will tell a lot of important things about the diagnostic participant.

Characteristics of the psychological technique "House, tree, person

Each person is a separate, definite personality, which will not be a second time. People differ in the very essence of the soul; their resemblance is only superficial. The more one becomes himself, the deeper and clearer his original features appear.
Valery Bryusov, Russian poet, prose writer and playwright

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

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

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

Proper conduct of the projective drawing test

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

For work, the subject receives a sheet of A4 paper and a hard-soft pencil, so that in the future it would be possible to assess the force of pressure on the sheet. The diagnostic algorithm is as follows:

The experimenter, at his own discretion, determines which model of conduct is more productive. First: the child is given a sheet bent in the form of an accordion three times (usually this is used with younger children). Each object in this case will be depicted on separate spreads. Second model: allow the subject to place all three illustrations on flat paper (in this case, several new and important aspects appear for interpretation - the remoteness of a particular object, pressure, and so on).
The adult then recommends, "Draw the house, the tree, and the person the way you want."
In the process of completing the task, the test organizer must record all the comments, conditions and other external manifestations of the subject. Such observation will be especially important for the psychologist in case deviations are found in the subject.
After the work on the drawing is completed, an individual conversation is held. An adult can ask the child to explain who he drew, and also to find out if the character is in a good mood, what affects his well-being and why the subject likes the depicted character the most.

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

Processing and interpretation of the results of the child

Scoring and analysis

First of all, the experimenter must evaluate the symptom complexes of the subject's personality. To do this, each of the 8 syndromes is evaluated on points from 0 to 3 points (0 - the element is not identified, 1 - the symptom is partially manifested, 2 - the symptom is detected halfway, 3 - complete coincidence).

Symptom complex	Drawing feature	Possible scores
insecurity	Drawing in the center of the sheet Image in top corner House or tree near the edge Drawing at the bottom of the sheet Lots of minor details tree on the mountain Very emphasized roots Disproportionately long arms Legs wide apart	0, 1, 2, 3 0, 1, 2, 3 0, 1, 2 0, 1, 2, 3 0, 1, 2, 3 0, 1 0, 1 0, 1 0, 1
Anxiety (fear)	Clouds Selecting individual parts Space limitation Hatching Strong pressure line Lots of erasing Dead tree, sick person Underlined base line Thick line of the foundation of the house Intensively shaded hair	0, 1, 2, 3 0, 1 0, 1, 2, 3 0, 1, 2, 3 0, 1 0, 1, 2 0, 2 0, 1, 2, 3 0, 2 0, 1
Self-distrust	Very weak drawing line House on the edge of the sheet Weak stem line primitive tree Very small door Self-justifying slips while drawing, covering drawing with hand	0, 2 0, 1 0, 1 0, 1 0, 1 0, 1
Feelings of inferiority	The drawing is very small Missing arms, legs Hands behind back Disproportionately short arms Disproportionately narrow shoulders Disproportionately large branch system Disproportionately large two-dimensional leaves A tree that died from rotting	0, 1, 2, 3 0, 2 0, 1 0, 1 0, 1 0, 1 0, 1 0, 1
Hostility	No windows Door - keyhole very large tree Tree from the edge of a leaf Reverse profile of tree, human Branches like fingers empty eye sockets Long pointed fingers grin, teeth visible Aggressive stance of a man Other possible signs	0, 2 0, 1 0, 1 0, 1 0, 1 0, 1 0, 2 0, 2 0, 1 0, 2
Conflict (frustration)	Space limitation Bottom perspective (worm's eye) Redrawing an object Refusal to draw any object two trees Poor quality of one of the drawings Inconsistency between drawing and statement High waist Roof chimney missing	0, 1, 2, 3 0, 1, 2, 3 0, 2 0, 2 0, 2 0, 2 0, 1 0, 1 0, 1
Communication difficulties	No door Very small door No windows Windows - openings without frames Unnecessarily closed windows Dedicated face Face drawn last Lack of major facial features The man is drawn primitively door without handle House, man in profile Arms in a defensive position The painted man is lonely, according to the child	0, 2 0, 1 0, 2 0, 1 0, 1 0, 1 0, 1 0, 2 0, 2 0, 1 0, 1 0, 1 0, 1
depression	Place the picture at the bottom of the sheet Top view of tree or house Base line going down Line weakening while drawing Severe fatigue after drawing Very small drawings	0, 1, 2, 3 0,1 0,1 0, 2 0, 2 0, 2

Maximum possible points:

Insecurity - 32.
Anxiety - 33.
Self-confidence - 8.
Feeling of completeness - 16.
Hostility - 15.
Conflict, frustration - 23.
Communication difficulties - 18.
Depression - 10.

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

Interpretation of drawing features

Not a single detail in the process of analyzing a drawing can be superfluous. Here are some nuances you should pay attention to when viewing the image and interpreting the behavior of the child:

Criterion	Interpretation
Details	The absence of additional elements in the figure indicates a serious emotional shock or problems in mental development. An excess of details betrays a sensitive and very vulnerable nature in the "artist". Often this feature occurs when the subject is unable to start a conversation. A chaotic image or arrangement of elements betrays a tendency to sudden mood swings.
Erasures	If the drawing becomes better after such actions, then there is no cause for concern. But cases where the use of an eraser leads to a deterioration in the image require clarification of the causes of possible anxiety.
earth lines	A very important element of the picture, which determines the purposefulness. The absence of at least some kind of support indicates that the subject is uncomfortable, something is bothering him. Too induced contour or thick strokes express anxiety, irritability. Lines emanating from below and diverging upward show an unwillingness to face the unknown. If the base line goes down and turns to the right, then the child is seriously worried about his future. This element is not taken into account when analyzing the result of very young children.
contours	This nuance provides information about the ability of the subject to maintain personal balance. Thick lines symbolize anger combined with anxiety. An equally strongly induced contour of all elements is a history of mental disorder or hidden (obvious) hostility to the depicted object. The alternation of thick and thin strokes speaks of growing tension, a premonition of trouble.
Location	If the baby shifts the drawing down, then he is prone to impulsiveness. However, for subjects 4–5 years old, this arrangement is not considered out of the norm. The shift to the left is typical mainly for adolescents who are concerned about what awaits them in the future. If the image goes to the right edge, then the child is clearly trying to avoid any experiences. Leaving in the upper third implies pronounced aggressive tendencies, as well as increased egocentrism. Turning the sheet is also a negative trend - probably, the subject is inclined to avoid responsibility.
perspective	If the objects are turned sideways, then the personality of the subject cannot accept the environment, trying to hide his "I". The full-face image indicates the straightforwardness and directness of the child. Quite often, such drawings are created by children of 6–8 years old - at an age when a collision with new conditions (study at school) gives reason to doubt the absolute correctness of adults. If the perspective of the drawing is directed into the distance, then this indicates a desire to isolate from society, the subject feels cut off from others.
Proportion	The ratio of details shows how strong the tendency to avoid communication is in the child, as well as the degree of its tightness. Strong violations of proportions indicate a serious intellectual deviation (both reversible and irreversible). The image of objects in the distance shows a clear desire to reject those valuable values that a tree, a house and a person carry in themselves. Such nihilism is especially common in the drawings of adolescents.
Corrections and additions	If a child draws elements without erasing the previous ones, then he is prone to internal and external conflicts.
Insecure drawing	Often this occurs because it is difficult for the "artist" to present the final result as a whole picture. However, sometimes it can also be an indicator of a loss of a sense of balance. If the size of the object is limited, looks compressed, then the subject is clearly suffering from the framework established in his life.
Transparency	This characteristic indicates the child's desire to ignore reality. But some objects that are not filled with color do not lose touch with reality. That is why school psychologists do not pay attention to such a component (with the exception of cases when transparency is inherent in about 70% of the illustration).

Interpretation of the key objects of the drawing

House

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

Wood

Foliage. The rounded shape of the crown indicates excessive emotionality, but the round leaf pattern indicates that the child feels abandoned. If the leaves are indicated schematically, then this is a sure sign that the subject wants to close people. If a child painted palm leaves, then he dreams of traveling. Mesh-shaped leaves are a symbol of the ability to solve problems on their own.
Lowered branches are a sign of unwillingness to make an effort, but those raised up, on the contrary, show enthusiasm. In adolescence, it is also a lust for power. Branches splayed in different directions indicate a search for ways of self-affirmation, but in children such an arrangement indicates confusion.
A well-drawn crown shows exaltation, emotionality of the subject.
Trunk. If it is drawn in one line, then the subject does not want to look at the world objectively, preferring to live in an illusory world. The curve is an indicator of lethargy. A tree torn out of the soil indicates a child's lack of contact with the outside world. When the trunk expands downward, this indicates that the child is looking for sympathy and support from loved ones.
If there are not one, but two trees in the illustration, then, perhaps, the person being tested in this way showed himself and a significant adult for him (this requires clarification in the conversation).
The image of the earth with one stroke shows the desire for order, and with several - the desire to obey only one's own rules. The latter variant is most often seen in illustrations made by children, which merit the designation "obedient".
Small roots symbolize curiosity, which is the driving force behind almost all the actions of the subject. Two lines as roots are the desire to suppress some manifestations in oneself (not always bad).
The symmetry of the plant shows the craving of the subject to be in harmony with the outside world. It is also a manifestation of the fact that the child hesitates in some kind of choice.

Did the kid draw several trees? Perhaps he simply does not follow the recommendations for taking the test, or he has signs of mental retardation. However, this does not apply to the situation when 2 trees appear in the figure.

Human

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

Head. With a large head, the subject shows his understanding of the concept of "smart person", and also clearly refers himself to this category. Small heads, as a symbol of intellectual underdevelopment, are drawn by children aged 9–16, especially those with learning problems. Also, a tiny part of the body indicates the shyness of the child.
Neck. Long - the desire to control everything that happens around. Usually this element is inherent in the drawings of very active children. Thick and short indicates compliance.
Shoulders. Wide - recognition of the power of force over the mind. Small ones are a symbol of a sense of one's own worthlessness, belittling one's own merits. Sloping shoulder girdle - a sense of guilt in front of a loved one.
Torso. A large one speaks of dissatisfaction with something, and a small one speaks of its own low value.
The prominent chin shows the subject's need to dominate. Wide is usually drawn by indecisive guys.
Sparse or too thin eyebrows are usually depicted by children who relate to reality with a great deal of skepticism.
Big ears are drawn by those who can hardly stand criticism. Disproportionately small - a symbol of the desire to drown out any attempts to influence the choice or decision of a teenager. Toddlers have no symbolic meaning.
Small eyes show the isolation of the child. Lush eyelashes are often drawn by children aged 10–16, as at this age the desire to demonstrate themselves awakens.
A wide smile denotes insincerity, forced friendliness. The dashed mouth demonstrates a passive acceptance of life, in babies this may be due to overprotective adults. Clearly drawn teeth are present in the pictures of guys who often show aggression.
The larger the nose, the more cheerful the subject's disposition. The emphasis on the nostrils is made by children prone to demonstrating anger.
Hair and eyebrows: the more these elements are shaded, the stronger the manifestations of anxiety in the subject. Unpainted hair, decorated only with a contour, speaks of the hostility of the child.
The longer the arms, the more ambitious the child is tested. Limbs behind the back are drawn by those who do not know how to compromise. Suspicious children draw hands on their chests. Too tightly pressed to the body, the limbs are clumsy guys who constantly hear such a reproach addressed to them. Excessively large hands depict impulsive subjects. If the child generally “forgot” about the limbs, then perhaps he has some psycho-emotional disorders. Hands behind the back - this is a desire to hide something. The absence of palms may be a sign that the subject does not feel motherly love. The more fingers a child has drawn, the more ambition he has. Thin phalanxes are a symbol of hostility. Primitive knuckles symbolize callousness, sometimes even aggression. If there are less than five fingers, then the subject may be dependent on the opinions of adults and often feel powerless in resolving certain issues.
If a child begins to depict a person from drawing legs, then the “artist” treats others with a degree of timidity. The unequal size of these limbs speaks of a desire for independence. Emphasis on the legs is usually done by subjects who tend to be rude. The absence of such body parts indicates timidity and isolation. Dependence on authoritative adults is shown by disproportionately small feet. And, on the contrary, too long give out a desire to demonstrate their independence.
If the figure has a visible back of the head, then the child tends to isolation. The running man symbolizes the desire to hide something. The figure, shown only in outline, speaks of an unwillingness to have nothing to do with others. This situation can arise if a child (most often a teenager) has problems both with studies and with establishing contacts with peers.
An unbalanced body in space indicates tension. The image of the doll is a recognition of its compliance. If a child drew, for example, Baba Yaga, then he has a clearly hostile attitude towards women. But a clown in adolescence is a symbol of self-contempt.

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

The test "House-Tree-Man" is intended for the study of personality. This brief analysis of the test will allow even a child to cope with the interpretation of the result. The test is suitable for both children and adults.

Instruction

The diagnostic procedure is as follows. The subject is offered paper and a simple pencil (you can also use colored pencils, then the interpretation of the drawings is carried out taking into account the selected colors).

The standard sheet is folded in half, on the first page in a horizontal position at the top it says "House", on the second and third pages in a vertical position on top of each sheet - respectively "Tree", "Man", on the fourth page - the date of the study, the name of the subject.

It is proposed to draw a house, a tree and a person.

When observing the subject during the task, all spontaneous statements are recorded, any unusual movements are noted.

At the end of the drawing, a number of clarifying questions are asked about the received drawings. The subject is offered the opportunity to characterize, describe and interpret the drawn objects and what surrounds them, as well as express associations associated with them. The researcher needs to clarify the meaning of unusual details in the drawings (if any), any unusual proportional, spatial or positional relationships between the drawn objects or their fragments. The survey usually begins with a drawing of a person. In all cases, it is necessary to determine exactly what meaning the stimulus words "House", "Tree" and "Man" have for the subject. From a conversation based on drawings, they smoothly move on to a conversation about life plans, ideas of the subject.

A variant is possible when the subject is asked to draw a house, a tree and a person in one drawing, in one ongoing scene. It is believed that the interaction between the house, the tree and the person 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. 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.

Result interpretation

In order to assess the overall picture, to determine the presence (absence) of hidden or obvious problems in the subject, it will be enough to conduct a brief analysis of the "House-Tree-Man" test. If, as a result of a brief analysis of the drawings, significant problems are identified, then it is better to deal with a psychologist in more detail.

When interpreting, it is necessary to proceed from the analysis of the integrity of the drawings. The presence of only one sign does not yet indicate the manifestation of a certain mental peculiarity in a given subject. The interpretation has two parts. The first part concerns the generally accepted interpretation of drawings and individual elements. In the second part, the psychological portrait of the subject is determined based on the criteria of the projective test, the analysis of each individual drawing in the context of the entire task, and the observation of the subject during the task.

For the analysis of drawings, three aspects of evaluation are used - the details of the drawings, their proportions, perspectives.

It is believed that the details of the drawing represent the consciousness and interest of a person in an everyday situation. The subject can show in his drawing which details are of personal interest to him in two ways: positively - if during drawing he emphasizes them, returns to these details of the drawing, erases some details of the drawing; negative - if it misses the main, essential details of the drawn objects. The meaning of such details should be interpreted taking into account the integrity of all drawings.

Proportions sometimes reflect the psychological significance, importance and value of things, situations or relationships that are directly or symbolically represented in the drawing. Proportion can be viewed as the ratio of the whole drawing to a given space of paper, or as the ratio of one part of the whole drawing to another.

Perspective shows a more complex relation of man to his environment. When evaluating the perspective, attention is drawn to the position of the drawing on the sheet in relation to the viewer (view from above or below), the relative position of the parts of the drawing, the movement of the drawn object.

Interpretation of features

The drawing of a house always reflects issues related to a person's family. The child expresses attitude towards parents, brothers, sisters. Adult - family relationship with a spouse.

General form

Drawing adjacent to the lower border of the sheet - lack of a sense of security in family or intimate life.
A drawing on the edge of a sheet - a sense of danger is often associated with the following aspects: 1) the right side is the future, the left is the past, 2) the danger is associated with the purpose of the room or with its permanent resident, 3) the left side is emotional experiences, the right is intellectual.
Placing a drawing above the center of the sheet - the larger the drawing above the center, the more likely it is that: 1) the subject feels the severity of the struggle and the relative unattainability of the goal; 2) the subject prefers to seek satisfaction in fantasies (internal tension); 3) the subject tends to 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 drawing below the center of the sheet - the lower the drawing in relation to the center of the sheet, the more likely it is that: 1) the subject feels insecure 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 - 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.
The house, presented in perspective, viewed from below - the denial of the house or the feeling that it is impossible to achieve the desired situation at home. The feeling that the subject is rejected, withdrawn, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.
House in perspective, top view - denial of the home situation. The plan of the house (projection from above) instead of the house itself is a serious conflict.
Signs of "losing perspective" (the 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 a desire to forget the past (line on the left).
Triple perspective (three-dimensional, the subject draws at least four separate walls) - excessive concern for the opinions of others about themselves, the desire to keep in mind (learn) all connections, even insignificant ones, all features.
House away - a feeling of rejection, a clear tendency to delimit oneself from the environment; desire not to recognize what this drawing symbolizes.
Home near - openness, accessibility and (or) a sense of warmth and hospitality.
The main details are a door, a window, a wall, a roof, a pipe. If there is no detail, there are certain problems in relationships with people.
Additional details - the need for additional ordering of the surrounding space. This is sometimes due to a lack of security or a desire to control conflicts.
The house is old, collapsed - sometimes the subject in this way can express his attitude towards himself.
Miscellaneous buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.
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.
The wall, the side contour is too thin and inadequate - a premonition (threat) of a catastrophe.
The wall, the contours of the line are too accentuated - a conscious desire to maintain control.
Wall, one-dimensional perspective, only one side is depicted. If it is a side wall, then 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

Doors - contacts with people around.
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, rejection of reality, significant impregnability.
The doors are open - the first sign of frankness, reachability or the need to receive warmth from the outside world.
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

Windows - behavioral features.
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 closed (curtained) - concern for interaction with the environment (if this is significant for the subject).
Windows without glass - 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.
No windows - hostility, flight, alienation.
Windows with vents - a reserve, self-control.
Windows without curtains - open, direct behavior.

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 cornice of the roof, its accentuation with a bright contour or pouring over the walls, is a heavily protective (usually suspicious) installation.
Flat (one line between two walls) - lack of imagination or emotional retardation.
Too big a roof - a search for satisfaction in fantasies.

Pipe

Trumpet - a warm (or intimate) relationship.
Lack of a pipe - the subject feels a lack of psychological warmth at home or the presence of conflicts with an important male person.
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.
Water pipes (or drainpipes from the roof) - reinforced protective installations (and usually increased suspiciousness).

Additionally

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, then there may be a strong need for dependence under the dominance of parents.
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 across the space or on both sides of the path - a slight anxiety within reality and a conscious desire to control it.
The path (path) is a symbol of a person's openness, his availability for contacts. The path, well proportioned, easily drawn, shows that the individual, in contact 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.
The sun is a symbol of an authority figure. Often perceived as a source of warmth and strength.
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.
A fence around the house is a need for emotional protection.
Gutter - suspicion.

Room instead of home

Associations can 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.
The bedroom is a place of intimate relationships. A graphical or verbal depiction of one's own bedroom can help to ascertain the subject's degree of sexual adjustment, as well as reveal the subject's attitude towards or need for rest and relaxation.
Dining room (living room). The function of this room is to satisfy oral and nutritional needs. If the manner of drawing indicates the significance of this room for the subject, one can suspect a violation of these functions.
Living room (living room) - social communication.
Kitchen. The image of a room in which food is prepared, in the presence of a special manner of drawing in the subject (indicating violations), signal oral eroticism. This may be due to a strong need for affection, love.
Various outbuildings. Aggression directed against the actual owner of the house, or rebellion against what the subject considers artificial, cultural, standard. If the subject draws a toilet near the house, urethral and/or anal interest can be assumed.

Color

Common use of color: 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 should be hidden from prying eyes.
Number of colors used: A well-adjusted and emotionally insecure subject will typically use no less than two and no more than five colors; one can speak of mental instability if the subject paints the house with seven or more colors; if only one color is used, then the subject is afraid of emotional arousal.
The realistic use of color is not pathological.
Specific, non-conventional use of color (with the longer and harder the subject selects colors, the greater the likelihood of personality disorders):
- Color black - shyness, fearfulness. Strong opposition tendencies with potential aggressiveness.
- 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 blue is a certain depressive mood background. The need for self-control is captured.
- 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.
- The color brown is caution and an immature reaction to emotional stimuli.
- The color yellow is a strong sign of hostility. The yellow color throughout the drawing is a very strong sense of hostility in all social connections and relationships.
- Color-hatching (shadows) in the foreground and background - anxiety, but within the framework of reality.
- 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 small size of the picture is a feeling of unfitness.

Head

The head is the sphere of intellect (control), the sphere of imagination.
Big head - an unconscious emphasis on the belief about the importance of thinking in human activity, preoccupation with the world of imagination.
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.

The neck symbolizes the connection between the sphere of control (head) and the sphere of drives (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.
Thick short neck - concessions to one's weaknesses and desires, an expression of an unsuppressed impulse.

Shoulders

Shoulders are a sign of physical strength or a need for power.
Uneven - emotional instability.
Shoulders excessively large - a feeling of great strength or excessive preoccupation with strength and power.
Shoulders are small - a feeling of insignificance.
The shoulders are too angular (square) - a sign of excessive caution, protection, hostility towards others.
Sloping shoulders - despondency, despair, guilt, lack of vitality.
Broad shoulders - strong bodily impulses.

torso

The torso symbolizes masculinity.
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 emphasized - 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. They are found 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 mouth is strongly circled - immaturity.
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 (flattering) - insecurity.
A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.
Eyebrows sparse, short - contempt, sophistication.
Hair is 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, a symbol of changing or controlling the environment.
Wide arms (arm span) - an intense desire for action.
Hands wider at the palm or at the shoulder - insufficient control of actions and impulsiveness.
Tapered arms and legs - femininity.
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.
Hands turned to the sides, reaching for something - addiction, desire for love, affection.
Arms crossed on the chest - hostile-suspicious attitude, suspicion.
Hands behind your back - unwillingness to concede, to compromise (even with friends).
Hands behind your back or in your pockets - guilt, self-doubt. 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.
The arms are too long - overly ambitious aspirations.
Long arms - the desire to achieve something, to take possession of something.
Hands are long and weak - dependence, indecision, the need for guardianship.
Hands relaxed and flexible - good adaptability in interpersonal relationships.
Hands tense and pressed to the body - sluggishness, rigidity.
Hands are depicted close to the body - tension.
Arms outstretched at the sides - difficulties in social contacts, fear of aggressive impulses.
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.
Large hands - compensation for perceived weakness and guilt.
Large hands and feet in a man - rudeness, callousness.
Lack of hands - a feeling of inadequacy with high intelligence. Helplessness, inability.
Hands are absent in the female figure - the mother figure is perceived as unloving, rejecting, unsupportive.
Deformation or emphasis of the arm (or leg) on the left side is a social-role conflict.
Strong hands - aggressiveness, energy.
Hands are thin, weak - a feeling of insufficiency of what has been achieved.
Hand like a boxing glove - repressed aggression.
Hands vaguely defined - lack of self-confidence in activities and social relations.
Fingers are separated (chopped off) - repressed aggression, isolation.
Thumbs (long) - rudeness, callousness, aggression.
Long fingers - hidden aggression.
Fingers are large, like nails (thorns) - hostility.
More than five fingers - aggressiveness, ambition.
Fingers without palms - rudeness, callousness, aggression.
Less than five fingers - dependence, impotence.
Fingers clenched into fists - rebellion, protest.
Fists pressed to the body - a repressed protest.
Fists away from the body - an open protest.
The fingers are one-dimensional, looped - conscious efforts against aggressive feelings.
Legs show the level of independence, autonomy of a person.
Lack of legs - suppression, timidity, isolation.
Legs disproportionately long - a strong need for independence and the desire for it.
Legs are too short - a feeling of physical or psychological awkwardness. Disturbances in emotional life.
The drawing started with the feet and legs - timidity.
Legs widely spaced - outright neglect (insubordination, ignoring or insecurity).
Legs of unequal sizes - ambivalence (opposite feelings) in the pursuit of independence.
The legs are accentuated - rudeness, callousness.
Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.
The feet are not depicted - isolation, timidity, dependence.
Feet disproportionately long - the need for security, or maturity. The need to demonstrate masculinity.
Feet disproportionately small - stiffness, dependence, repressed feelings.

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, looking in different directions - especially 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, self-contempt.

Background, environment

Clouds - fearful anxiety, fears, depression.
Fence - the need for emotional protection.
The figure of a man in the wind is a need for love, affection, caring warmth.
The base line (earth) - insecurity.
Weapon - aggression.

Multidimensional Criteria

Line breaks, erased details, omissions, accentuation, shading - the sphere of conflict.
Buttons, a belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.
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.
Contour break - sphere of conflicts.
Underlined line - anxiety, insecurity. sphere of conflict. Regression (especially in relation to the underlined detail).
Jagged, uneven lines - audacity, hostility. Confident solid lines - ambition, zeal.
The bright line is rudeness.
Strong pressure - energy, perseverance. Great tension.
Lines with pressure - aggressiveness, perseverance.
Light lines - lack of energy.
Light pressure - low energy resources, stiffness.
Uneven, unequal pressure - impulsiveness, instability, anxiety, insecurity.
Changeable pressure - emotional instability, labile (changeable) moods.
Stroke length. If the subject 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 touches - 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.
Erasure - anxiety, apprehension.
Frequent erasures - indecision, dissatisfaction with oneself.
Erasing on redraw (if the redraw is more perfect) is a good sign.
Erasure with subsequent damage (deterioration) of the drawing - the presence of a strong emotional reaction to the object being drawn or to what it symbolizes for the subject, or the presence of a malignant organic factor.
Erasing without trying to redraw (i.e. correct) is an internal conflict or conflict with this detail itself (or with what it symbolizes).

Size and position

Big 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 - compensatory exaltation of oneself in the imagination.

Details

The absence of significant detail in a drawing of a subject known to be of average or higher intelligence now or in the recent past is more likely to indicate intellectual degradation or severe emotional disturbance.
An excess of details - the "inevitability of corporality" (the 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 towards isolation.
Particularly scrupulous detail - stiffness, pedantry.

Job Orientation

The ability to critically evaluate a drawing when asked to criticize it is the criteria for unlost contact with reality.
Accepting a task with minimal protest is a good start, followed by fatigue and interruption in drawing.
Apologies for drawing - 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.
Stubbornly draws, despite the difficulties - a good forecast, vigor.
Resistance, refusal to draw - hiding problems, unwillingness to reveal oneself.

The drawing of a tree is associated with the life role of the painter and with his ability to accept rewards from the environment. Reveals specific past situations or reflects personality traits of the person being tested. Unconscious self-portrait of the subject as a whole.

It is believed that the tree is a symbol of a standing person; roots - 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).

Roots

The roots are smaller than the trunk - a craving for a 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 marked with 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, suppress or express some tendencies in an unfamiliar circle or close environment.

Foliage shape, branches

Overly emphasized crown - emotional retardation, limited ability to reason.
The trunk and the circle instead of the crown - impulsiveness, variability.
Round crown - exaltation, emotionality.
Circles in the foliage - the search for soothing and rewarding sensations, feelings of abandonment and disappointment.
Foliage-net, more or less dense - more or less dexterity in avoiding problem situations; escape from discomfort.
Foliage of curved lines - receptivity, 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.
Loop leaves - prefers to use charm.
Foliage as a pattern - femininity, friendliness, charm.
The branches are omitted - loss of courage, abandonment of efforts.
Foliage in thin lines - subtle sensitivity, suggestibility.
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.
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.
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.

Trunk

An over-emphasized trunk is emotional immaturity.
Scars, hollow, broken branch - trauma, accident, illness, rape.
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.
Trunk lines with pressure - determination, activity, productivity.
Trunk lines are straight - dexterity, resourcefulness, does not linger on disturbing facts.
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 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, a search for support.
The trunk expands downwards - 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.
Overall height - the lower half of the sheet - less pronounced dependency and timidity.
The overall height is three-quarters of a leaf - a good adaptation to the environment.
The general height - the sheet is used entirely - wants to be noticed, count on others, assert itself.
crown height:
- 1/8 page - lack of reflection and control. Norm for a child of four years.
- 1/4 page - the ability to make sense of your experience and slow down your actions
- 3/8 pages - good control and reflection.
- 1/2 page - interiorization, hopes, compensatory dreams.
- 5/8 pages - intense spiritual life.
- 6/8 pages - is directly dependent on intellectual development and spiritual interests.
- 7/8 pages - foliage almost full page - flight into dreams.

Image manner

Earth

The earth is depicted with one line - focus on the goal, the adoption of some 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.
The lack of a ground line is susceptibility to stress.
The line of the earth is marked, but there are no roots - repressed emotions.
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.

Your task is to draw a house, a tree, a person on separate sheets.

Interpretation of results

To begin with, it is important to note in what order the drawings were made.

1. The house is drawn first - safety, coziness, and comfort are of paramount importance to you.

2. The tree is drawn first - the main thing for you is vitality, professional and creative growth.

3. The person is drawn first - your main needs (or problems) lie in the sphere of relations with yourself.

1. The figure at the bottom of the sheet indicates that you often experience a feeling of insecurity, sometimes a tendency to depression.

2. The drawing is located at the top of the sheet - you are most likely an optimist. It gives you great pleasure to fantasize.

If the drawing goes beyond the top edge of the sheet, what surrounds you is not enough for you to realize your ideas. Perhaps you are experiencing a strong annoyance about this.

3. The drawing is located above the center of the sheet - dreaminess, thoughtfulness, expressed the stronger, the higher the drawing is above the center.

4. The drawing is located below the center of the sheet - you are very careful and sometimes you see danger even where there is none.

5. The drawing is located exactly in the center of the sheet - frankness, straightforwardness.

6. The drawing is located on the left side of the sheet - you live in the past. Your feelings prevail over the mind, and female character traits over male ones.

If the drawing is placed in the upper left corner of the sheet, then you are deliberately "driving yourself into a corner", avoiding new friends, impressions, events.

The drawing goes beyond the left edge of the sheet - you constantly turn to your past and are afraid to look into the future. Your behavior is often driven by emotions.

7. The drawing is located on the right side of the sheet - your mind prevails over feelings. You are able to restrain your emotions, look to the future without fear. Your character is dominated by masculine traits.

The exit of the drawing beyond the right edge of the sheet is the desire to forget about the past, to hide from it in the future. You are afraid to show your feelings.

8. Turning the sheet - you are upset or angry about something.

An old, dilapidated, frightening house, ruins - this is your attitude towards yourself or the reality around you.

The house standing in the distance is dissatisfaction with the situation in your house. The goal you are currently striving for is not yet available.

The house standing nearby is openness, hospitality, contact.

Extensions - the desire for something new, unusual. Non-standard problem solving.

The presence of a pipe indicates your emotional maturity, readiness for a serious relationship.

If the tube is missing, then you are not getting the support you need at home. There may be difficulties in communicating with the opposite sex.

The pipe is almost invisible - you carefully hide your emotions from others.

Too big a pipe - you really want to demonstrate your sexuality to others.

The pipe is drawn obliquely in relation to the roof - an indicator of low intelligence in an adult (for a child - the norm).

Water or drainpipes indicate that you are very sensitive to the opinions of others.

Doors depict your ability to communicate, make contact, build relationships with people.

Lack of doors - it is difficult for you to open up to other people (especially close ones), although you want to.

One or more side or rear doors - you prefer not to take risks, not to conflict, often retreat in the face of difficulties, love solitude.

One or more front doors - you are open and frank with others (sometimes even too much).

Very large doors - dependence on others, the desire for approval.

Very small doors - a tendency to hide some traits of one's character from others. Indecision.

Padlock on the door - isolation, secrecy, distrust of people.

Fireplace or stove - the desire to create a warm and cozy atmosphere in the house.

The plan (scheme) of the house instead of the house itself is a serious conflict with loved ones.

The roof is a realm of fantasy.

A roof torn off by the wind - your behavior is often controlled by circumstances beyond your control.

A roof drawn more carefully than the rest of the drawing - you get great pleasure from fantasizing.

The thick contour of the edge of the roof - you strive to control your fantasies.

The thin contour of the edge of the roof - you are worried that you are not controlling your fantasies effectively enough.

Roof too big - fantasy attracts you much more than reality.

Instead of a house, a roof and a fence are depicted - your assessment of the world around you may be erroneous.

Transparent walls - the need for constant control over the situation. Inadequate assessment of the surrounding reality. Demonstrativeness.

Lack of foundation of the wall - often your actions are based not on facts, but on your conjectures, prejudices.

If the base line of the wall is very thick, you most likely have increased anxiety.

The contour lines of the wall are boldly circled - the desire to control the situation.

Only one side wall is drawn - you often oppose yourself to those around you.

Only one front wall is drawn - you strive to maintain the appearance of friendly relations with others, even in a difficult situation.

The height of the walls is greater than their width - a developed fantasy, isolation is possible.

The width of the walls is greater than their height - dependence on the opinions of others. Poor timing.

Steps resting against a blank wall - external coldness and an internal need for communication. It may be difficult for you to look at yourself from the outside.

Transparent, glass house - you strive to demonstrate yourself or worry about the fact that your personal life is in full view.

A window or windows is a sign of accessibility, openness, contact.

Lack of windows - alienation, isolation, secrecy.

There are no windows on the lower floor, but there are on the upper floor - there is a huge difference between how you behave in life and your fantasies.

Closed shutters or curtains on the windows, windows with locks - you are closed and secretive. Often treat others with hostility.

Lack of curtains - you do not hide your feelings from others.

Open shutters or curtains on the windows - there is tension, distrust in communication. Sometimes you feel like you are not understood.

Wide open windows - straightforwardness, reaching in its extreme manifestation to swagger and rudeness.

Many windows - sociability, readiness for contacts.

Windows of an unusual shape - the desire to attract attention, the originality of the manner of communication.

A large number of optional details accompanying the drawing speaks of your desire to equip your environment (this applies not only to your home) to your liking. The closer the parts are to each other, and the more successfully they are combined with each other, the better you succeed. But if there are too many details, this indicates your insecurity, which you are trying to disguise, and a lack of attention to yourself.

A path, easily and proportionally drawn - when communicating with people, you show tact and restraint.

The path is very long - limited accessibility, the desire to keep others at a distance.

Bushes closely surrounding the house - you seek to protect, protect yourself from the aggression of the outside world.

Bushes scattered on both sides of the path - you are anxious, but you try to control this trait in yourself.

The smoke goes either to the right or to the left - a contradictory attitude towards the surrounding reality.

Smoke goes to the left - a pessimistic view of the future.

Smoke goes to the right - an optimistic view of the future.

The smoke is very thick - you are very tense. The thicker the smoke, the higher the degree of tension.

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

The number of colors used. A harmoniously developed, not shy person, as a rule, paints his drawing with 2-5 colors.

If you used 7-8 colors in the drawing, you are very emotional and most likely inconsistent in your actions. If you used only 1 color (having others available), then you have an inherent fear of openly expressing your feelings.

Wood

Several trees - inattention, you do not follow the proposed instructions.

A dead tree is an experience of physical inferiority, feelings of guilt, emptiness.

Tree contour (keyhole) - hostility or unwillingness to perform the test.

The dimensions of the tree symbolize the real or desired position of a person in society.

A small tree is a feeling of inferiority, a desire to withdraw into oneself.

The tree is large, does not fit on a leaf - energy, activity, activity.

The tree is tilted to the left - attachment to the past and fear of the future. impulsive behavior. Emotions prevail over reason.

The tree is tilted to the right - fear of openly expressing emotions. Reason prevails over feelings.

Apple tree - dependence on parents. She is often depicted as pregnant women and women who want children.

The trunk is a person's understanding of his capabilities.

A trunk wide at the base, sharply tapering towards the top - the immaturity of the personality, increased emotionality.

The trunk tapers at the base - you are in a fight with something that is stronger than you.

Small trunk - the existing order of things in the world sometimes seems wrong and ridiculous to you.

A very large trunk is the desire to break out of the framework established by society. Aggression expressed in behavior, speech or thoughts.

A large trunk with small foliage - what is important to you is not available to you now. It disturbs your mental balance.

The thin contour of the trunk is indecision.

The trunk is broken, the top touches the ground - you are now led by some external forces that you are not able to control.

A graceful trunk with a very large crown - an excessive desire for pleasure.

The bark is slightly drawn - balance in relations with others.

The bark is drawn very carefully - a strong concern for relationships with others.

Damage on a tree is a traumatic experience in the past.

The tree occupies only the lower quarter of the leaf - dependence, lack of faith in oneself, dreams of power.

The tree occupies the lower half of the leaf - dependence on others at some points, timidity.

The tree occupies 3/4 of the leaf - good adaptability to the environment.

The tree occupies the entire leaf - the desire for self-affirmation and popularity.

The crown occupies 1/8 of the sheet - lack of self-control.

1/4 sheet - the ability to draw conclusions from past experience and not repeat your mistakes.

3/8 sheet - you are able to control yourself and know exactly what you want.

1/2 sheet - you absorb information like a sponge. If in real life something does not stick, you plunge into dreams.

5/8 sheet - a rich spiritual life.

6/8 sheet - you attach great importance to your intellectual and spiritual development.

7/8 sheet - almost the entire page is occupied by foliage - you often seek salvation from the real world in dreams.

A sharp peak is an attempt to protect oneself from dangers (often imaginary), difficulties in contacts, a need for tenderness.

Branches - their size, number, degree of flexibility and interlacing reflect a person's adaptability to life and the ability to enjoy it.

Completely asymmetrically located branches - inconstancy, frequent changes of opinion and mood.

Broken, tilted, inanimate branches - physical or mental trauma in the past.

The branches are drawn quite easily - your relationships with others are rather superficial.

The branches are depicted as thin lines - lack of sociability, isolation.

Thickened branches that look like fingers or sticks are hostility.

Strong branches with dense foliage - the ability to easily find a common language with people.

Branches turned to the left (or clearer on the left side) - the desire for sensual pleasures.

Branches facing to the right (or clearer on the right side) - getting pleasure from mental work, avoiding sensual pleasures.

Branches in the form of needles (thorns) - masochistic inclinations.

Narrow and long branches - you are very sociable, so you are constantly expanding your social contacts.

The leaves are too large for branches - it is difficult for you to find your place in life, but you skillfully hide it.

Pronounced roots that go deep into the ground - you will never give up what you used to consider right.

Thin, threadlike roots - you disagree with facts if they contradict your opinion about them.

The contour of the earth in the form of a mountain is the need for support, care, maternal care.

An animal living in the hollow of a tree - there is a trait in your character that is difficult for you to control.

The sun, the rays of which fall on the tree, is the desire to dominate.

A cloud between a tree and the sun - your relationship with others does not suit you. You often worry about this.

Setting sun - you are temporarily depressed.

Big sun - a difficult relationship with some significant person for you.

Wind - sometimes you experience feelings that are difficult to describe and control.

Human

A person is drawn in profile - avoiding communication, isolation.

The disproportion of the right and left sides is imbalance.

A person consisting of sticks - it is a burden for you to communicate with other people.

A running person is a desire to run away from something or a desire for something.

Walking person - good adaptability, resourcefulness, activity.

The head is the realm of intelligence, decision-making, self-control, and imagination.

Big head - in your opinion, thinking is very important for a person.

A small head - in your opinion, making deliberate and balanced decisions is very boring. You are attracted to everything that gives you pleasure. Recognize the primacy of feelings over the mind.

Head turned back - unwillingness to make contact, alienation.

Much attention is paid to the image of the face - it is important for you to maintain good relations with others, you care about your appearance.

Some facial features are masculine, some are feminine. Your character is dominated by either masculine or feminine qualities.

Big eyes with long eyelashes - demonstrativeness, a desire to attract the attention of others.

Eyes closed, hidden under dark glasses or a visor - the desire not to see what gives unpleasant sensations.

Empty eye sockets - detachment from the unpleasant aspects of life.

The nose is strongly emphasized - an increased interest in the topic of sex.

Large mouth, full lips - sensuality.

Large and / or sharp teeth - you are often sharp and rude to others.

The chin is strongly highlighted - you need to occupy a high position in society.

The chin is not clearly drawn - it is difficult for you to build relationships with other people.

Large ears - sensitivity to criticism. The need for information.

Small ears - rejection of criticism.

Beard, mustache - the desire to dominate.

The neck is the organ that connects the head (the sphere of control) with the body (the sphere of drives).

The neck is missing - you are often captured by bodily desires and it is difficult for you to control them.

Long and thin neck - deepening into oneself, interest in the topic of bodily desires is weakly expressed.

The torso is the focus of our basic needs and drives.

The torso is absent - the denial of bodily desires.

The torso is long and narrow - you do not show increased interest in the topic of bodily attraction.

The torso is too large - you have accumulated a significant amount of unmet, acutely aware needs.

The torso is too small - a denial of bodily desires or a feeling of humiliation, of one's own insignificance.

Shoulders are a sign of physical strength or a need for power.

Narrow shoulders - a feeling of low value, insignificance.

Broad shoulders - you have or want to have physical strength and power over others.

Shoulders are unequal - the presence of internal conflict.

Shoulders too angular - excessive caution.

The shoulders are rounded - an expression of even, plastic, rather well balanced strength.

Excessive emphasis on the chest - emotional immaturity, dependence on the mother.

Muscles are very actively drawn - you pay too much attention to appearance. There may be a tendency to be selfish.

Hands are an instrument of struggle, control, changing the environment, as well as the best adaptation to it.

Hands protect hips - fear of manifestation of one's own sexuality.

Hands in pockets - closeness in communication, avoidance of personal topics in conversation.

Arms crossed on the chest - suspiciousness.

Hands behind the back - unwillingness to concede, to compromise. The tendency to control the manifestation of aggression.

Hands pressed to the body - sluggishness, lethargy, conservatism.

The arms are not merged with the body or extended to the sides across the back - sometimes actions are out of your control.

Wide arm span - you are energetic and action-oriented.

Wide arms at the palm or at the shoulder - impulsiveness, lack of control over the situation.

Thin hands - worries due to weakness and futility of efforts.

Too short arms - lack of specific aspirations.

Hands relaxed and flexible - good adaptability in relationships with others.

The arms are long and muscular - you lack physical strength, dexterity, courage.

Arms too long - excessive ambition.

The hands are too large - the need for more effective adaptation to the social environment.

Wing-like hands - deepening into oneself, weak contact with reality, daydreaming.

Lack of legs - stiffness.

Legs wide apart - neglect, insubordination, ignoring or insecurity.

Legs crossed - unwillingness to close contacts.

The legs are strongly shifted and tense - tension, insufficient looseness.

Legs of different sizes - inconstancy. Striving for independence.

The legs are disproportionately long - the desire for independence, independence.

Legs too short - physical or psychological awkwardness.

Feet are a sign of mobility in interpersonal relationships.

The feet are too long - a need for security or a demonstration of masculinity.

Feet too small - stiffness, dependence.

Feet turned in different directions - strong conflicting feelings.

The fingers are large, pointed at the ends - hostility.

The deformation of any part of the body most often reflects similar deformations in humans.

Lines often break - anxiety, insecurity.

A person signs the drawing with his name - selfishness, narcissism, selfishness.

Mask - caution, secrecy, incredulity.

Tie - masculinity, emphasis on sexuality.

Pocket - dependence on others, in particular on the mother.

The weapon is aggression.

The contour of the earth is insecurity.

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