It is possible to determine and analyze the main emotional and intellectual characteristics of a particular person different ways. 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. 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:

1. 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).
2. The adult then recommends, "Draw the house, the tree, and the person the way you want."
3. In the process of completing the task, the test organizer must record all the comments, states and other external manifestations of the subject. Such observation will be especially important for the psychologist in case deviations are found in the subject.
4. 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
Difficulties in communication	No door Very small door No windows Windows - openings without frames Unnecessarily closed windows Dedicated person 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:

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

If the result for each indicator exceeds 50% of the possible number of points, then this indicates that the child needs professional help 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	Absence additional elements in the figure speaks of 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 shut oneself off 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. splayed in different sides branches testify to the search for ways of self-affirmation, but in babies this arrangement speaks of 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 driving force almost all 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 " clever man", and also clearly classifies himself in 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- feeling of guilt towards 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 maternal 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 the fingers are less than five, 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 with both studies and establishing contacts with peers.
• An unbalanced body in space indicates stress. 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 can be taken by both adults and children, perhaps a group examination. The subject is asked to draw a house, a tree and a person (DDCH). Further, a survey is built according to the location of the elements and their characteristics. R. Berne, when using the DCF test, suggests drawing a house, a tree and a person in one drawing, occurring in one scene. The scientist believes that the interaction between these objects is a visual metaphor. If you put the whole drawing into action, then it is quite possible to notice what is really happening in our lives.

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

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

Interpretation of features

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

"House "

The house is old and dilapidated. Sometimes the subject in this way can express an attitude towards himself.
Home away - feeling rejected (rejected)
House near - openness, accessibility and (or) a feeling of warmth and hospitality.
Plan of the house (projection from above) instead of the house itself - a serious conflict
Miscellaneous buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.
The shutters are closed. The subject is able to adapt to interpersonal relationships.
Steps leading to a blank wall (without doors) are a reflection of a conflict situation that harms a correct assessment of reality, the inaccessibility of the subject (although he himself may desire free cordial communication).

Walls

The back wall, located unusually, is a conscious attempt at self-control, an adaptation to conventions, but at the same time there are strong hostile tendencies.
The outline of the back wall is significantly thicker (brighter) than the other details. The subject seeks to maintain (not lose) contact with reality.
The wall, the absence of its base is a weak contact with reality (if the drawing is placed below).
Wall with an accentuated outline of the base. The subject tries to force out conflicting tendencies, experiences difficulties, anxiety.
A wall with an accentuated horizontal dimension is a poor orientation in time (the dominance of the past or the future). Perhaps the subject is very sensitive to environmental pressure.
A wall with a side contour that is too thin and inadequate is a premonition (threat) of disaster.
Against the wall, the contours of the line are too accentuated - a conscious desire to maintain control.
Wall in 1D perspective - only one side is shown. If it is a side wall, there are serious tendencies towards alienation and opposition.
Transparent walls - unconscious attraction, the need to influence (own, organize) the situation as much as possible.
A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.

doors

Their absence - the subject has difficulty in trying to open up to others (especially in the home circle).
Doors (one or more) rear or side - retreat, detachment, avoidance.
The doors are open - the first sign of frankness, reachability.
The doors are open. If the house is residential - this is a strong need for warmth from the outside or the desire to demonstrate accessibility (frankness).
Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.
The doors are very large - excessive dependence on others or the desire to surprise with their social sociability.
The doors are very small - unwillingness to let in your Self. Feelings of inadequacy, inadequacy and indecision in social situations.
Doors with a huge lock - hostility, suspiciousness, secrecy, protective tendencies.

Smoke

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

Roof

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

Room

Associations may arise in connection with:
1) the person living in the room;
2) interpersonal relationships in the room;
3) the purpose of this room (real or attributed to it). Associations can have a positive or negative emotional connotation.
The room that did not fit on the sheet is the unwillingness of the subject to depict certain rooms due to unpleasant associations with them or with their tenant.
Room. Subject selects nearest room - suspiciousness.
The bath has a sanitary function. If the manner in which the bathtub is depicted is significant, these functions may be impaired.

Pipe

The absence of a pipe. The subject feels a lack of psychological warmth at home.
The pipe is almost invisible (hidden) - unwillingness to deal with emotional influences.
The pipe is drawn obliquely with respect to the roof - the norm for a child; significant regression if found in adults.
Drainpipes - enhanced protection and usually suspiciousness.
Water pipes (or drainpipes from the roof) are reinforced protective installations (and usually increased suspiciousness).

Add-ons

Transparent, glass box. It symbolizes the experience, exposing oneself to everyone on display. He is accompanied by a desire to demonstrate himself, limited only to visual contact.
Trees. They often symbolize different faces. If they seem to hide the house, there may be a strong need for dependence under parental dominance.
bushes. Sometimes they symbolize people. If they densely surround the house, there may be a strong desire to protect themselves with protective barriers.
Bushes randomly scattered around the space or located on both sides of the path indicate a slight anxiety within reality and a conscious desire to control it.
Path (good proportions, freely drawn) - shows that the individual in contacts with others reveals 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 sharply near the house, an attempt to mask the desire to be alone, combined with superficial friendliness.
Sun. Symbol of an authority figure. Often perceived as a source of warmth and strength.
Weather (what kind of weather is shown). Reflects the experiences of the subject as a whole related to the environment. Most likely, the worse, more unpleasant the weather is depicted, the more likely that the subject perceives the environment as hostile, fettering.

Color

Color, its usual use. Green for the roof, brown for the walls. Yellow, if used only to depict the light inside the house, thereby representing the night or its approach, expresses the feelings of the subject, namely:
1) the environment is hostile to him;
2) his actions must be hidden from prying eyes.
The number of colors used. A well-adapted, shy and emotionally insecure subject usually uses no less than 2 or no more than 5 colors. A subject who paints a house with 7-8 colors is at best very labile, using only 1 color is afraid of emotional arousal.

Color selection

The longer, more uncertain, harder the subject selects colors, the greater the likelihood of personality disorders.
Color black - shyness, fearfulness.
Color green - the need to have a sense of security, protect yourself from danger. This position is not so important when using green for the branches of a tree or the roof of a house.
The color orange is a combination of sensitivity and hostility.
The color purple is a strong need for power.
The color red is the most sensitive. Demand for heat from the environment.
Color shading 3/4 of the sheet - lack of control over the expression of emotions.
Hatching that goes beyond the pattern is a tendency to an impulsive response to additional stimulation.
The color yellow is a strong sign of hostility.

General form

Placing a drawing on the edge of a sheet is the main feeling of uncertainty, danger. Often associated with a specific time value:
a) the right side is the future, the left side is the past;
b) related to the purpose of the room or its permanent occupant;
c) indicating the specifics of experiences: the left side is emotional, the right side is intellectual.

perspective

Perspective "above the subject" (looking from the bottom up) - the feeling that the subject is rejected, removed, not recognized at home, or the subject feels the need for a home, which he considers inaccessible, unattainable.
Perspective, the drawing is depicted in the distance - the desire to move away from conventional society. Feelings of isolation, rejection. A clear tendency to separate from the environment. The desire to reject, not to recognize this drawing or what it symbolizes. Perspective, signs of loss of perspective (the individual correctly draws one end of the house, but draws a vertical line of the roof and walls in the other - he cannot depict depth) signal the beginning difficulties of integration, fear of the future (if the vertical side line is on the right) or the desire to forget the past ( line on the left).
Triple perspective (three-dimensional, the subject draws at least 4 separate walls, on which even 2 are not in the same plan) - excessive concern with the opinions of others about themselves. The desire to keep in mind (to know) all connections, even insignificant ones, all features.

Placement of the picture

Placing the picture above the center of the sheet. The larger the pattern 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.
Resetting the pattern below the center of the sheet. The lower the drawing is in relation to the center of the sheet, the more it looks like:
1) the subject feels unsafe and uncomfortable, and this creates a depressive mood in him;
2) the subject feels limited, constrained by reality.
Placing a picture on the left side of the sheet is an emphasis on the past. 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.
Placement of the drawing on the right half of the sheet is the tendency of the subject to seek pleasure in the intellectual spheres. controlled behavior. Emphasis on the future.
The drawing extends off 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.
Going beyond the top edge of the sheet is fixation on thinking and fantasy as sources of pleasure that the subject does not experience in real life.
The contours are very straight - rigidity.
The contour is sketchy, used constantly - at best, pettiness, striving for accuracy, at worst - an indication of the inability to take a clear position.

"Human"

Head

The head is the sphere of intellect (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 image of the head at the very end is an 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 is an organ that symbolizes the connection between the sphere of control (head) and the sphere of drives (body). Thus, this is their coordinating feature.
The emphasized neck is the need for intellectual defensive 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, their size is a sign of physical strength or a need for power.
Shoulders excessively large - a feeling of great strength or excessive concern for 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.
The trunk is masculinity.
The body is angular or square - masculinity.
The body is too large - the presence of unsatisfied needs, acutely realized by the subject.
The torso is abnormally small - a feeling of humiliation, low value.

Face

Facial features include eyes, ears, mouth, nose. These are receptors for external stimuli - sensory contact with reality.
The emphasized face is a strong preoccupation with relationships with others, as well as with one's appearance.
Too emphasized chin - 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 depiction of the eyes as empty eye sockets is a significant tendency to avoid visual stimuli. Hostility.
Bulging eyes - 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.
The nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes.
Nostrils - primitive aggression.
Clearly drawn teeth - 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 is a sign of masculinity (courage, strength, maturity and striving for it).
Heavily shaded hair - anxiety associated with thinking or imagination.
Unshaded hair, unpainted hair framing the head - subject is ruled by hostile feelings.

limbs

Hands are tools for a more perfect and sensitive adaptation to the environment, mainly in interpersonal relationships.
Wide arms (arm span) - an intense desire for action.
Hands wider at the palm or at the shoulder - insufficient control of actions and impulsiveness.
Hands, depicted not merged with the body, separately, extended to the sides. The subject sometimes catches himself in actions or deeds that are out of his control.
Arms crossed on the chest - a 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, agility, 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, the need for guardianship.
Hands turned to the sides, reaching for something - dependence, 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.
A hand like a boxing glove is repressed aggression.
Hands behind your back or in your pockets - guilt, self-doubt.
Poorly defined hands - lack of self-confidence in activities and social relationships.
The absence of arms in the female figure. The mother figure is perceived as unloving, rejecting, unsupportive.
Separated (chopped off) fingers - repressed aggression, isolation.
Thumbs - rudeness, callousness, aggression.
More than 5 fingers - aggressiveness, ambition.
Fingers without palms - rudeness, callousness, aggression.
Less than 5 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, similar to 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 that began with the feet is timidity.
Lack of feet - isolation.
Legs wide apart - outright neglect (insubordination, ignoring or insecurity).
Legs of unequal sizes - ambivalence in the pursuit of independence.
Lack of legs - timidity, isolation.
Accentuated legs - rudeness, callousness.
Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.
Feet disproportionately long - the need for security. The need to demonstrate masculinity.
Feet disproportionately small - stiffness, dependence.

Pose
The image of the face so that the back of the head is visible is 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 of 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 or left sides - lack of personal balance.
A person without certain parts of the body - indicates rejection, non-recognition of a 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 - a particularly strong frustration with the desire to get rid of an unpleasant situation.
Unbalanced standing figure - tension.
Dolls - compliance, the experience of dominance of the environment.
Robot instead male figure- depersonalization, the feeling of external controlling forces.
The figure of the sticks can mean evasion and negativism.
The figure of the Baba Yaga is open hostility towards women.
A clown, a caricature - an experience of inferiority and rejection characteristic of adolescents. Hostility, self-contempt.

Background. Environment

Clouds - fearful anxiety, fears, depression.
Fence for support, contour of the earth - insecurity.
The figure of a man in the wind is the need for love, affection, caring warmth.
Base line (earth) - insecurity. Represents the necessary reference point (support) for constructing the integrity of the picture. Gives him stability. The meaning of this line sometimes depends on the quality attached to it by the subject. For example, a boy rides thin ice. The base is often drawn under a house or a tree, less often under a person.
The weapon is aggression.

Multidimensional Criteria

Line breaks, erased details, omissions, accentuation, shading - the sphere of conflict.
Buttons, belt buckle, accentuated vertical axis of the figure, pockets - dependency.

Contour, pressure, hatching, location

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 strokes - perseverance, security.
Lines of unequal brightness - voltage.
Thin extended lines - tension.
A non-cutting, underlined contour framing the figure is isolation.
Sketchy outline - anxiety, timidity.
Breaking the contour is the sphere of conflicts.
The underlined line is anxiety, insecurity. sphere of conflict. Regression (especially in relation to the underlined detail).
Jagged, jagged lines - impudence, hostility.
Confident solid lines - ambition, zeal.
The bright line is rudeness.
Strong pressure - energy, perseverance. Great tension.
Light lines - lack of energy. Light pressure - low energetic resources, stiffness.
Lines with pressure - aggressiveness, perseverance.
Uneven, unequal pressure - cyclothymic, impulsiveness, instability, anxiety, insecurity.
Changeable pressure - emotional instability, labile moods.

Stroke length

If the patient is excitable, the strokes are shortened; if not, they are lengthened.
Direct strokes - stubbornness, perseverance, perseverance.
Short strokes - impulsive behavior.
Rhythmic shading - sensitivity, sympathy, looseness.
Short, sketchy strokes - anxiety, uncertainty.
The strokes are angular, constrained - tension, isolation.
Horizontal strokes - emphasizing the imagination, femininity, weakness.
Vague, varied, changeable 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.

Erasures

Erasures - 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 drawn object or to what it symbolizes for the subject.
Erase without trying to redraw (i.e. correct) - internal conflict or a conflict with this detail itself (or with what it symbolizes).
Large drawing - expansiveness, a tendency to vanity, arrogance.
Small figures - anxiety, emotional dependence, a feeling of discomfort and stiffness.
A very small figure with a thin contour - stiffness, a feeling of low value and insignificance.
The lack of symmetry is insecurity.
The drawing at the very edge of the sheet is dependence, self-doubt.
Drawing on the whole sheet is a compensatory exaltation of oneself in the imagination.

Details

What is important here is their knowledge, the ability to operate with them and the ability to adapt to specific practical conditions of life. The researcher must notice the degree of the subject's interest in such things, the degree of realism with which he perceives them; the relative importance he attaches to them; the way these parts are connected together.
The details are significant. 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.
Too many 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 - a tendency to isolation.
Particularly scrupulous detail - stiffness, pedantry.

Job Orientation

The ability to critically evaluate a drawing when asked to criticize it is the criteria for non-lost contact with reality.
Acceptance of the assignment with minimal protest good start, followed by fatigue and drawing interruption.
Apologizing because of the drawing is a lack of confidence.
In the course of drawing, a decrease in pace and productivity is a 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.
Persistent drawing, despite the difficulties - good forecast, vigor.
Resistance, refusal to draw - hiding problems, unwillingness to reveal oneself.

"Wood"

The interpretation according to K. Koch proceeds from the provisions of K. Jung (a tree is a symbol standing man).
The roots are the collective, the unconscious.
Trunk - impulses, instincts, primitive stages.
Branches - passivity or opposition to life.
The interpretation of a tree drawing always contains a core (roots, trunk, branches) and decoration elements (foliage, fruits, landscape). As already noted, the interpretation of K. Koch was aimed mainly at identifying pathological signs and features of mental development. In our opinion, there are a number of contradictions in the interpretation, as well as the use of concepts that are difficult to concretize. For example, in the interpretation of the signs “rounded crown”, “lack of energy”, “drowsiness”, “nodding”, and then “the gift of observation”, “strong imagination”, “frequent inventor” or “insufficient concentration” - what? What is the reality behind this concept? Remains unknown. In addition, the interpretation of signs contains an excessive use of everyday definitions. For example, “emptiness”, “pomp”, “pomp”, “flat”, “vulgar”, “small”, “not far off”, “pretense”, “pretense”, “primness”, “pretentiousness”, “falseness” and right there - "the gift of constructiveness", "ability for systematics", "technical talent"; or a combination of "self-discipline", "self-control", "education" - "pomp", "swagger", "indifference", "indifference".
We would like to draw attention to the fact that when communicating with normal people in the process of psychological counseling, it is hardly permissible to pronounce such epithets addressed to them.
Raising the earth to the right edge of the sheet - enthusiasm, enthusiasm.
Lowering the earth to the right edge of the sheet - a breakdown, lack of aspirations.

Roots

The roots are smaller than the trunk - the desire to see hidden, closed.
The roots are equal to the trunk - a stronger curiosity, already presenting a problem.
Roots larger than the trunk - intense curiosity, can cause anxiety.
The roots are indicated by a line - childish behavior in relation to what is kept secret.
Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.
Symmetry is the desire to appear in harmony with the outside world. A marked tendency to restrain aggressiveness. Hesitation in choosing a position in relation to feelings, ambivalence, moral problems. The arrangement on the sheet is dual - the attitude to the past, to what the drawing depicts, that is, to one's act. Double desire for independence and protection within the environment. The central position is the desire to find agreement, balance with others. It indicates the need for a rigid and rigorous systematization based on habits.
Location from left to right - an increase in focus on the outside world, on the future. The need to rely on authority; seeking agreement with the outside world; ambition, the desire to impose oneself on others, a feeling of abandonment; possible fluctuations in behavior.

foliage shape

Round crown - exaltation, emotionality.
Circles in the foliage - the search for soothing and rewarding sensations, a feeling of abandonment and disappointment.
Lowered branches - loss of courage, abandonment of efforts.
Branches up - enthusiasm, impulse, desire for power.
Branches in different directions - the search for self-affirmation, contacts, self-dispersion, fussiness, sensitivity to the environment, does not oppose it.
Foliage-mesh, more or less dense - more or less dexterity in avoiding problem situations.
Foliage of curved lines - susceptibility, open acceptance of the environment.
Open and closed foliage in one picture - the search for objectivity.
Closed foliage - protection of one's own inner world childish way.
Closed dense foliage - unmanifested aggressiveness.
Foliage details that are not connected with the whole are judgments that take insignificant details as a description of the phenomenon as a whole.
The exit of branches from one area on the trunk is a children's search for protection, the norm for a child of 7 years old.
The branches drawn in one line are an escape from the troubles of reality, its transformation and embellishment.
Thick branches are a good distinction of reality.
Loop leaves are the preferred use of their charm.
Palm tree - the desire to change places.
Foliage-mesh - avoiding unpleasant sensations.
Pattern-like foliage - femininity, friendliness, charm.
Weeping willow- lack of energy and enthusiasm, the desire for a solid support and the search for positive contacts; return to the past and childhood experience; difficulties in making decisions.
Blackening, shading - tension, anxiety.

Trunk

Shaded trunk - internal anxiety, suspicion, fear of being abandoned; covert aggressiveness.
The trunk in the form of a broken dome - the desire to be like a mother, to do everything like her, or the desire to be like her father, to measure strength with him, a reflection of failures.
A trunk from one line - a refusal to really look at things.
trunk, drawn thin lines, crown - thick - the possibility of self-affirmation and free action. Foliage depicted in thin lines - subtle sensitivity, suggestibility.
The trunk, depicted by lines with pressure, is decisiveness, activity, productivity.
Trunk lines are straight - dexterity, resourcefulness, does not linger on disturbing facts.
The lines of the trunk are crooked - activity, inhibited by anxiety and thoughts about the insurmountability of obstacles.
"Vermicelli" - a tendency to stealth for the sake of abuse, unforeseen attacks, hidden rage.
Branches that are not connected with the trunk are a departure from reality that does not correspond to desires, an attempt to escape from it into dreams and games.
The trunk, open and connected with foliage, is a good intellect, normal development, the desire to preserve one's inner world.
A trunk torn off the ground is a lack of contact with the outside world; everyday life and spiritual life are unrelated.
The trunk, limited from below, is a feeling of unhappiness; seeking support.
The trunk, expanding downwards, is the search for a reliable position in its circle.
The trunk, tapering downwards, is a sense of security in a circle that does not provide the desired support; isolation and the desire to strengthen one's Self in a troubled world.
The overall height - the bottom quarter of the sheet - dependence, lack of faith in oneself, compensatory dreams of power.
Using the lower half of the sheet means less dependency and timidity.
Using 3/4 sheet is a good adaptation to the medium.
The sheet, used in its entirety, wants to be noticed, count on others, assert itself. Sheet height (the page is divided into 8 parts):
1/8 - lack of reflection and control. The norm for a child of 4 years;
1/4 - the ability to comprehend one's experience and slow down one's actions;
3/8 - good control and reflection;
1/2 - internalization, hopes, compensatory dreams;
5/8 - intense spiritual life;
6/8 - the height of the foliage is directly dependent on intellectual development and spiritual interests;
7/8 - foliage takes up almost the entire page - flight into dreams.

Image manner

Sharp Top:
1) protection from danger, real or imaginary, perceived as a personal attack;
2) the desire to act on others, to attack or defend, difficulties in contacts;
3) the desire to compensate for the feeling of inferiority, the desire for power;
4) search for a safe haven due to feelings of abandonment, for a firm position, the need for tenderness.
The multiplicity of trees (several trees on one leaf) is childish behavior, the subject does not follow this instruction.
Two trees can symbolize oneself and another loved one (see the position on the sheet and other points of interpretation).
Adding various objects to the tree is treated depending on specific objects.
Landscape means sentimentality.
Turning the leaf - independence, a sign of intelligence, prudence.

Earth

The earth, depicted with one line, is focus on the goal, the adoption of some order.
Earth, depicted in several different ways - actions in accordance with their own rules, the need for an ideal. Several joint lines depicting the earth are shown in aggregate and touch the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.

Test "House-Tree-Man"

"House-Tree-Man" (DCH) is one of the most famous projective methods of personality research. It was proposed by J. Book in 1948. The test is intended for both adults and children. Perhaps a group survey.

The diagnostic procedure is as follows. The subject is asked to draw a house, a tree and a person. Then a survey is conducted according to the developed plan.

R. Berne, when using the DPD test, asks to depict a tree, a house 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.

Home - interpretation of signs

General

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

Home away - a feeling of rejection (rejection).

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

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

Miscellaneous buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.

The shutters are closed - the subject is able to adjust in interpersonal relationships.

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

Walls

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

The contour of the back wall is much brighter (thicker) compared to other details - the subject seeks to maintain (not lose) contact with reality.

The wall, the absence of its base is a weak contact with reality (if the drawing is placed below).

A wall with an accentuated contour of the base - the subject is trying to displace conflict tendencies, experiencing difficulties, anxiety.

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

Wall: the side contour is too thin and inadequate - a premonition (threat) of disaster.

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

Wall: 1D perspective - only one side shown. If it is a side wall, there are serious tendencies towards alienation and opposition.

Transparent walls - unconscious attraction, the need to influence (own, organize) the situation as much as possible.

A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.

doors

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

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

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

The doors are open. If the house is residential, this is a strong need for warmth from the outside or the desire to demonstrate accessibility (frankness).

Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.

The doors are very large - excessive dependence on others or the desire to surprise with your social sociability.

The doors are very small - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecisiveness in social situations.

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

Smoke

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

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

Window

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

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

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

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

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

Roof

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

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

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

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

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

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

Room

Associations may arise in connection with:

1) the person living in the room,

2) interpersonal relationships in the room,

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

Associations can have a positive or negative emotional connotation.

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

Subject selects nearest room - suspiciousness.

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

Pipe

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

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

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

Drainpipes - enhanced protection and usually suspiciousness.

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

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, there may be a strong need for dependence under parental dominance.

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

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

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

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

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

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

Color

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 must be hidden from prying eyes.

Number of Colors Used: A well-adapted, shy, and emotionally insecure subject will typically use no fewer than two and no more than five colors. A subject who paints a house with seven or eight colors is, at best, very labile. Using only one color is afraid of emotional excitement.

Color selection

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

Color black - shyness, fearfulness.

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

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power. The color red is the most sensitive. Demand for heat from the environment.

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

Hatching that goes beyond the pattern is a tendency to an impulsive response to additional stimulation. The color yellow is a strong sign of hostility.

General form

Placing a drawing on the edge of a sheet is a generalized feeling of insecurity, danger. Often associated with a specific time value:

a) the right side is the future, the left side is the past,

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

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

perspective

Perspective "above the subject" (looking from the bottom up) - the feeling that the subject is rejected, removed, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.

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

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

Placement of the picture

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

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

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

3) the subject tends to stay away.

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

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

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

2) the subject feels limited, constrained by reality.

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

Placing a picture in the upper left corner of the sheet is a tendency to avoid new experiences. Desire to go into the past or delve into fantasies.

Placing a picture on the right half of the sheet - the subject is inclined to seek pleasure in the intellectual spheres. controlled behavior. Emphasis on the future.

The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free, frank emotional experiences.

Going beyond the right edge of the sheet is the desire to "escape" into the future in order to get rid of the past. Fear of open free experiences. The desire to maintain tight control over the situation.

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

The contours are very straight - rigidity.

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

House drawing analysis scheme

1. Schematic representation

2. Detailed image

3. Metaphorical image

4. City house

5. Farmhouse

6. Borrowing from a literary or fairy tale plot

7. The presence of windows and their number

8. The presence of doors

9. Chimney with smoke

10. Shutters on the windows

11. Window size

12. Overall size of the house

13. The presence of a front garden

14. The presence of people near the house and in the house

15. Having a porch

16. The presence of curtains on the windows

17. Presence of plants (number)

18. Number of animals

19. The presence of a landscape image (clouds, sun, mountains, etc.)

20. The presence of shading on the intensity scale 1,2,3

21. Line thickness on intensity scale 1, 2, 3

22. Door open

23. Door closed

Human

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

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

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

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

Long thin neck - inhibition, regression.

Thick short neck - concessions 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 - a feeling of great strength or excessive preoccupation with strength and power.

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

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

Broad shoulders - strong bodily impulses.

torso

Symbolizes courage.

The body is angular or square - masculinity.

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

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

Face

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

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

The chin is too emphasized - the need to dominate.

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

Ears are too emphasized - auditory hallucinations are possible. 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 nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes.

Nostrils - primitive aggression. The teeth are clearly drawn - aggressiveness. The face is unclear, dull - fearfulness, shyness. Facial expression obsequious - insecurity. A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.

Eyebrows sparse, short ~– contempt, sophistication.

Hair

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

Hair heavily shaded - anxiety associated with thinking or imagination.

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

limbs

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

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

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

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

Arms crossed on chest - hostile-suspicious attitude.

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

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

Arms too long - overly ambitious aspirations.

Hands relaxed and flexible - good adaptability in interpersonal relationships.

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

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

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

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

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

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

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

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

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

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

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

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

Large hands - compensation for perceived weakness and guilt. Hands are absent in the female figure. - the mother figure is perceived as unloving, rejecting, unsupportive.

Fingers are separated (chopped off) - repressed aggression, isolation.

Thumbs - rudeness, callousness, aggression. More than five fingers - aggressiveness, ambition.

Fingers without palms - rudeness, callousness, aggression.

Less than five fingers - dependence, impotence. Long fingers - hidden aggression. Fingers clenched into fists - rebellion, protest. Fists pressed to the body - a repressed protest. Fists away from the body - an open protest. Fingers are large, like nails (thorns) - hostility.

The fingers are one-dimensional, looped around - conscious efforts against aggressive feelings.

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

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

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

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

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

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

Feet disproportionately small - stiffness, dependence.

Pose

The face is depicted in such a way that the back of the head is visible - a tendency towards isolation.

Head in profile, body full face - anxiety caused by the social environment and the need for communication.

A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.

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

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

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

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

A person in a smooth light step - good adaptability.

Man - absolute profile - serious detachment, isolation and oppositional tendencies.

The profile is ambivalent - certain parts of the body are depicted on the other side in relation to the rest, 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 an open hostility towards women.

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

Background. Environment

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

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

The weapon is aggression.

Multidimensional Criteria

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

Buttons, belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.

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

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

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

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

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

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

The bright line is rudeness. Strong pressure - energy, perseverance. Great tension.

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

Lines with pressure - aggressiveness, perseverance.

Uneven, unequal pressure - impulsiveness, instability, anxiety, insecurity.

Changeable pressure - emotional instability, labile moods.

Stroke length

If the patient is excitable, the strokes are shortened; if not, they are lengthened.

Direct strokes - stubbornness, perseverance, perseverance. Short strokes - impulsive behavior. Rhythmic shading - sensitivity, sympathy, looseness.

Short, sketchy strokes - anxiety, uncertainty. The strokes are angular, constrained - tension, isolation.

Horizontal strokes - emphasizing the imagination, femininity, weakness.

Vague, varied, changeable 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. Erasures - 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 drawn object or to what it symbolizes for the subject.

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

Size and position

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

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

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

The lack of symmetry is insecurity.

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

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

Details

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

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

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

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

Insufficient detail - tendencies to isolation. Particularly scrupulous detailing - stiffness, pedantry.

The psychologist also monitors the behavior of the subject:

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

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

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.

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

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

Wood

The interpretation according to K. Koch comes from the provisions of K. Jung (a tree is a symbol of a standing person). The roots are the collective, the unconscious. Trunk - impulses, instincts, primitive stages. Branches - passivity or opposition to life.

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

We would like to draw attention to the fact that when communicating with normal people in the process of psychological counseling, it is hardly permissible to pronounce such epithets addressed to them.

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

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

Roots

The roots are smaller than the trunk - craving for hidden, closed. The roots are equal to the trunk - a stronger curiosity, already presenting a problem.

Roots larger than the trunk - intense curiosity, can cause anxiety.

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

Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.

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

The arrangement on the sheet is dual - the attitude to the past, to what the drawing depicts, i.e. to your action. Double desire: independence and protection within the environment. The central position is the desire to find agreement, balance with others. It indicates the need for a rigid and rigorous systematization based on habits.

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

foliage shape

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

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

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

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

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

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

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

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

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

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

Blackening, shading - tension, anxiety.

Trunk

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

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

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

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

Foliage with thin lines - subtle sensitivity, suggestibility.

Trunk lines with pressure - determination, activity, productivity.

Trunk lines are straight - dexterity, resourcefulness, does not linger on disturbing facts.

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

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

The branches are not connected with the trunk - a departure from reality that does not correspond to desires, an attempt to "escape" into dreams and games.

The trunk is open and connected with foliage - high intelligence, normal development, the desire to preserve the inner world.

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

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

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

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

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

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

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

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

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

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

3/8 - good control and reflection,

1/2 - internalization, hopes, compensatory dreams,

5/8 - intense spiritual life,

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

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

Image manner

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

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

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

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

Test "HOUSE - WOOD - MAN"

The technique consists of two stages: at the first stage, the child creates drawings; at the second stage, a conversation is held when the child describes and explains what he has drawn. Instruction:"Draw the house the best you can." You should record the time spent on the drawing. After the child completes the picture, ask him to draw a tree and then a person. While the child is working on the drawing, it is necessary to observe him, and make notes regarding the time spent, pauses in the drawing (during the drawing of which detail it arose, how long it lasted), deviations from the normal sequence of the image of the elements of the house, tree and person made child's comments and expressed emotions.

House
How many floors does this house have?
Is this house brick, wooden or something else?
Is this your house? (If not, whose is it?)
When you were drawing this house, did you think who is the owner?
Would you like this house to be yours? Why?
If this house were yours, which room would you choose? With whom would you like to live in this house?
Is this house somewhere far or close?
What do you think about when you look at this house?
What does he remind you of?
Is this house welcoming, friendly?
Is it similar to other houses or different in some way?
What is the weather like in this picture?
What is missing in this house?
Where does the path lead from the house?
If there was a person nearby, who would it be?

Wood
What is this tree?
Where is this tree actually located?
What is the approximate age of this tree?
Is this tree alive?
What exactly in the picture confirms that the tree is alive?
Does the tree have some dead part? If there is, then which one?
Why did the tree die (if dead)?
Is this tree lonely or are there others nearby?
What do you think the weather is like in this picture?
Is there wind in the picture?
Show which way the wind is blowing.
What does this tree make you think of?
What does it remind you of?
Is this tree healthy?
Is this tree strong?
If you were to draw a sun, where would you place it?
Who does this tree remind you of? Why?
What does this tree need the most?

Human
Is it a boy or a girl?
How old is he/she?
Who is he?
Is it your relative, friend or someone else?
What were you thinking about when you drew?
What is he doing? Where is?
What is he thinking about?
What does he feel?
What thoughts come to your mind as you look at it?
Who does this person remind you of?
Is this person healthy?
Why do you think so?
Is this person happy?
Why do you think so?
What do you feel about this person?
What is the weather like in the picture?
What does this person want the most? Why?

Interpretation.

Each drawing should be considered as a self-portrait of a child. Drawing analysis carried out in the following sequence:
Details
perspective
Time
Line quality
Comments

Details

Interpretation begins with such an indicator as the number of parts. First of all, you need to make sure that the required details are available. The house must have at least one door (with the exception of only a side wall), one window, one wall, a roof, and a chimney or other means of escaping smoke or something that can be used to heat the house. The tree must have a trunk and at least one branch. A person must have a head, a body, two legs, two arms, as well as two eyes, a nose, a mouth, and two ears. The absence of obligatory details in the drawings, among other things, may indicate a decrease in the level of intelligence, unless during the conversation the child explained the reason for the lack of details.

If the drawing is well done in terms of proportions and perspective, but contains a minimum of detail, this may mean that the child is generally inclined to withdraw or express his disagreement with traditional values.

If the use of a small amount of detail is accompanied by a low quality of the drawing in terms of proportions and space, it can be assumed that the child has poor contact with reality, and intellectual abilities are reduced.

An excessive amount of detail is a sign that the child is experiencing a strong sense of anxiety, something in his environment makes him very anxious and he is trying to drown out this feeling.

The absence of any of the mandatory details listed indicates a serious violation. The presence of additional details (bushes, flowers, path) - the desire to fill the surrounding space, lack of a sense of security, anxiety, insecurity. Other red flags include a missing baseline, broken windows, a door that is smaller than a window, a non-rectangular window (unless it's an attic window), a transparent roof or wall through which you can see objects inside the house.

A dilapidated, old house, an unstable building - a critical attitude towards oneself. The house consists of several different buildings - a feeling of hostility towards someone of their people close to him.

Roof marked horizontal line connecting the walls - inhibition of thinking, lack of emotions, acute experiences. A high, large roof - the child is prone to fantasies, even obsessed with them.

The pipe symbolizes the warmth of relationships, its absence is a lack of warmth, care, guardianship, or the presence of a conflict in relationships with a loved one. A disproportionately large pipe in a teenager's drawing is a sexual conflict. A lot of smoke comes out of the chimney - something is disturbing the child, internal tension.

Door - the possibility of access or retreat. The front door is both an entrance and an exit, symbolizing accessibility. The back or side door is an escape from reality. There is no door - the child is unavailable, closed, does not want to contact others. Opened door- the child's need for warm, close relationships, his openness, straightforwardness, sociability. A very large door - the child is hard to endure loneliness, requires attention, loves to be the center of attention. Too small a door - extreme isolation, denial of any contacts, unwillingness to let others in. The lock on the door - secrecy, hostility, the need for protection. A fence near the house is a need for protection.

The window is an image of visual contact. Windows without frames, no windows, no windows on the first floor, shutters, shading, curtains, curtains - isolation, a child who has gone into himself. The windows are drawn high from the ground - a certain separation of the child from the realities of life and a preference for imaginary worlds. Windows draws last - the desire for solitude, unwillingness to contact with others. Open windows - straightforwardness, a sense of confidence, some pride.

Wood

A large, very large tree - aggression. A very small tree - low self-esteem. The child refuses to portray the crown more carefully - hostility. Scars on the body of a tree, broken, drooping or dead branches - mental trauma. Dead tree - a feeling of inferiority, unfitness, failure, worthlessness, guilt. Damaged branches - traumatic effects of the environment. Dead root system - intrapersonal disharmony.

The wind symbolizes feelings of exposure to forces that are almost uncontrollable. The wind direction of moderate strength from left to right horizontally is considered generally accepted and is not interpreted. If the wind is strong, and the direction is different from the usual, then this is of particular importance. The wind that blows from the bottom up (vertically or diagonally) - a strong desire to be transported from real world into the world of fantasy. The wind blowing diagonally, from the top corner to the bottom, has the opposite meaning (in this case, the direction is interpreted in terms of time: the left corner is the past, the right corner is the future).

The setting sun is a depressive state, depression. The sun, drawn behind a cloud - between the child and the person whom he considers "giving warmth", there are anxious, tense, unsatisfactory relationships.

Human

A person's hands are tools with which a defensive or offensive action is performed in relation to the surrounding world or oneself, and the feet symbolize movement. Self-portrait without hands and feet - helplessness. Divorced hands are an expression of the desire for action. Arms crossed on the chest - evidence of isolation, suspiciousness, withdrawal into oneself. Long hands- the presence of some aspirations, ambitions. Short arms - lack of aspirations aimed at the outside world. Hands are long and weak - a sign of dependence and the need for protection and guardianship. Disproportionately long legs- desire for independence. Short legs - a feeling of helplessness.

Eyes, nose, mouth, ears are receptors that perceive external stimuli that can be unpleasant (listening to accusations, criticism), can lead to conflict or a problem. A drawing of a person with only eyes is suspicion, excessive caution. Lack of nose, ears and mouth - indicates a lack of desire to communicate.

Other features of the drawing.

Superfluous details (represent the need to smooth out an alarming situation) are: for a drawing of a house - a tree in the yard, for a drawing of a tree - a bird on it or an animal next to it, for a drawing of a person - any objects surrounding it. Trees (bushes) drawn near a tree or a person often represent people (family members), and the distance between them often symbolizes the closeness or distance in their relationship.

The line of the earth (line of the base) in the drawing of a house, a tree or a person is not an appropriate detail. It is interpreted as a sign of insecurity (the earth line is an element that reinforces the reality of the drawing). The base line provides the necessary reference point; ensures the stability of the picture as a whole.

Inappropriate details include clouds in the sky (for any of the three drawings), which may indicate a general feeling of anxiety associated with relationships with others.

The emphasis of the child on one or another detail must be taken into account in the interpretation. Emphasis can be expressed in excessive attention to detail (for example, a window is drawn into many cells, and becomes like a grid), in an obsessive return to detail after it has been completed. Such reinforcement can mean vague anxiety.

Sequence of details.

When drawing a house, the following order must be observed: roof, wall, door, window (or window first, then door). Another possible variant- start with the ground line, then draw the walls, roof, etc. Insecure children may draw the details of an object without considering any connection between them.

The drawing of a tree is usually done in the following sequence: first the trunk, then the branches and crown and/or foliage, or first the top of the tree, then the branches, the trunk and the base of the trunk. The branches of the tree symbolize the sphere of contacts and relationships of the child with the outside world, and reflect the level of his activity in the search for satisfaction; the trunk symbolizes his feelings regarding his basic abilities, personal potential. The degree of flexibility of the branches, their number, size and the degree of their mutual connection indicate the adaptability and currently available resources of the individual.

A person is depicted in the following sequence: first the head, then the face, then the neck, torso, arms (with fingers or hands), legs and feet (or legs and arms in reverse order), etc. If a drawing of a person begins with a foot and ends with a head and facial features, then such a sequence can be called pathological. A delayed image of facial features may indicate: 1) a tendency to reject perceived external stimuli; 2) about the desire to delay, as far as possible, the identification of the drawn person.

Any deviation from the normal sequence, including:

Unusual image order;

Arbitrary return to something previously drawn;

Reinforcement of the pattern (when the outline of a given detail is repeatedly outlined) should be regarded as requiring special attention.

Pay attention to the consistency of the drawings. All three drawings should be made in approximately the same manner, with the same pressure, the same detail and their number.

The proportions of the drawing.

With the help of proportions, the child indicates what ratings he assigns to the drawn objects, or to what they symbolize.

The drawing occupies a very small area of ​​space - a manifestation of a feeling of inferiority, a tendency to avoid reality, or a desire to reject a particular drawing or its symbolic meaning. The drawing takes up almost the entire space, or does not even fit on the page - a manifestation of a feeling of strong frustration caused by the attitude of others, combined with a feeling of hostility: a manifestation of tension and irritability or a reflection of a feeling of helplessness (if the feet or parts of the person’s legs are “cut off” by the bottom edge of the sheet) .

If the tree has big sizes- the child acutely feels his dependence on the surrounding reality, shows aggressiveness or a tendency to it. A tiny tree is a feeling of inferiority, inadequacy and the need to withdraw into oneself.

perspective

Drawing strictly in the center of the sheet is a manifestation of a feeling of insecurity and rigidity. The desire to place the drawing in the upper left corner is a fairly noticeable anxiety or regression. This position reflects the desire to avoid new experiences and, probably, the desire to return to the past. If the house does not fit on the sheet and the edge of the sheet “cuts off” one or more rooms of the house, then this often expresses the child’s reluctance to draw this room because of some unpleasant associations associated with it or the people living in it. A child drawing a house adjacent to the edge of the sheet expresses a feeling of insecurity, which often has a temporary attachment (the left edge is the past, the right edge is the future). The same is indicated by the drawing of a person adjacent to the edge. “Cutting off” the top of the tree is the desire to find satisfaction in fantasy. The "slice" of the left edge of the picture is a fixation on the past combined with fear of the future, and the "slice" of the right edge is the desire to be in the future in order to get away from the past. If the drawing is adjacent to the upper edge of the sheet - fixation on reflections and fantasies. A tree adjacent to the edge of a leaf - a feeling of "squeezing", an increase in aggressive aspirations. The lower edge of the sheet plays the role of the base of the picture - an oppressed, depressive mood, depression. A tree, drawn as if on a hill, is a feeling of tension, a need for protection and security. A lonely tree on a hilltop is a feeling of loneliness combined with a desire for autonomy. The use of space in the drawing of a tree and a house to the left of the center is the dominance of the emotional sphere, and to the right - the intellectual one.

Time

The time spent on a drawing can indicate how meaningful it is to a child. A large amount of time spent on the execution of a particular drawing indicates the presence of a strong positive or negative feeling of the child in relation to the depicted object. If the child spent very little time, this indicates an indirect refusal to depict the object or situation symbolically represented in the drawing. It should be noted that the high quality of the drawing justifies the large amount of time spent on it.

Line quality

The drawing is made in bold lines - tension of an indefinite nature. If bold lines are used in the depiction of certain details - fixation on this detail, or hostility towards the drawn object, or what it symbolizes

This projective methodology for the study of personality was proposed by J. Book in 1948. The test is intended for both adults and children, a group examination is possible.

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

R. Berne, when using the DPD test, asks to depict a tree, a house 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.

Interpretation of signs in the test “Dom. Wood. Human"

"House"

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

Home away - a feeling of rejection (rejection).

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

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

Miscellaneous buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.

The shutters are closed - the subject is able to adjust in interpersonal relationships.

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

Walls

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

The contour of the back wall is much brighter (thicker) compared to other details - the subject seeks to maintain (not lose) contact with reality.

The wall, the absence of its base is a weak contact with reality (if the drawing is placed below).

A wall with an accentuated contour of the base - the subject is trying to displace conflict tendencies, experiencing difficulties, anxiety.

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

Wall: the side contour is too thin and inadequate - a premonition (threat) of disaster.

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

Wall: one numbered’perspective – only one side is depicted. If it is a side wall, there are serious tendencies towards alienation and opposition.

Transparent walls - unconscious attraction, the need to influence (own, organize) the situation as much as possible.

A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.

doors

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

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

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

The doors are open. If the house is residential, this is a strong need for warmth from the outside or the desire to demonstrate accessibility (frankness).

Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.

The doors are very large - excessive dependence on others or the desire to surprise with your social sociability.

The doors are very small - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecisiveness in social situations.

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

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

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

Window

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

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

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

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

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

Roof

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

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

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

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

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

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

Room

Associations may arise in connection with:

1) the person living in the room,

2) interpersonal relationships in the room,

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

Associations can have a positive or negative emotional connotation.

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

Subject selects nearest room - suspiciousness.

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

Pipe

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

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

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

Drainpipes - enhanced protection and usually suspiciousness.

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

Add-ons

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

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

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

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

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

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

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

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

Color Color; its usual use: green - for the roof; brown - for walls;

yellow, if used only to depict the light inside the house, thereby displaying the night or its approach, expresses the feelings of the subject, namely:

1) the environment is hostile to him,

2) his actions must be hidden from prying eyes.

Number of Colors Used: A well-adapted, shy, and emotionally insecure subject will typically use no fewer than two and no more than five colors. A subject who paints a house with seven or eight colors is, at best, very labile. Using only one color is afraid of emotional excitement.

Color selection

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

Color black - shyness, fearfulness.

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

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power. The color red is the most sensitive. Demand for heat from the environment.

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

Hatching that goes beyond the pattern is a tendency to an impulsive response to additional stimulation. The color yellow is a strong sign of hostility.

General form

Placing a drawing on the edge of a sheet is a generalized feeling of insecurity, danger. Often associated with a specific time value:

a) the right side is the future, the left side is the past,

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

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

perspective

Perspective "above the subject" (looking from the bottom up) - the feeling that the subject is rejected, removed, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.

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

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

Placement of the picture

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

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

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

3) the subject tends to stay away.

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

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

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

2) the subject feels limited, constrained by reality.

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

Placing a picture in the upper left corner of the sheet is a tendency to avoid new experiences. Desire to go into the past or delve into fantasies.

Placing a picture on the right half of the sheet - the subject is inclined to seek pleasure in the intellectual spheres. controlled behavior. Emphasis on the future.

The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free, frank emotional experiences.

Going beyond the right edge of the sheet is the desire to “escape” into the future in order to get rid of the past. Fear of open free experiences. The desire to maintain tight control over the situation.

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

The contours are very straight - rigidity.

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

DIAGRAM PROCESSING IN THE "HOUSE" TEST

No. Distinguished feature

1. Schematic representation

2. Detailed image

3. Metaphorical image

4. City house

5. Farmhouse

6. Borrowing from a literary or fairy tale plot

7. The presence of windows and their number

8. The presence of doors

9. Chimney with smoke

10. Shutters on the windows

11. Window size

12. Overall size of the house

13. The presence of a front garden

14. The presence of people near the house and in the house

15. Having a porch

16. The presence of curtains on the windows

17. Presence of plants (number)

18. Number of animals

19. The presence of a landscape image (clouds, sun, mountains, etc.)

20. The presence of shading on the intensity scale 1,2,3

21. Line thickness on intensity scale 1, 2, 3

22. Door open

23. Door closed

"Human"

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.

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

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

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

Long thin neck - inhibition, regression.

Thick short neck - concessions 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 - a feeling of great strength or excessive preoccupation with strength and power.

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

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

Broad shoulders - strong bodily impulses.

torso

Symbolizes courage.

The body is angular or square - masculinity.

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

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

Face

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

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

The chin is too emphasized - the need to dominate.

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

Ears are too emphasized - auditory hallucinations are possible. 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 nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes.

Nostrils - primitive aggression. The teeth are clearly drawn - aggressiveness. The face is unclear, dull - fearfulness, shyness. Facial expression obsequious - insecurity. A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.

Eyebrows sparse, short ~– contempt, sophistication.

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

Hair heavily shaded - anxiety associated with thinking or imagination.

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

limbs

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

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

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

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

Arms crossed on chest - hostile-suspicious attitude.

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

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

Arms too long - overly ambitious aspirations.

Hands relaxed and flexible - good adaptability in interpersonal relationships.

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

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

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

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

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

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

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

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

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

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

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

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

Large hands - compensation for perceived weakness and guilt. Hands are absent in the female figure. - the mother figure is perceived as unloving, rejecting, unsupportive.

Fingers are separated (chopped off) - repressed aggression, isolation.

Thumbs - rudeness, callousness, aggression. More than five fingers - aggressiveness, ambition.

Fingers without palms - rudeness, callousness, aggression.

Less than five fingers - dependence, impotence. Long fingers - hidden aggression. Fingers clenched into fists - rebellion, protest. Fists pressed to the body - a repressed protest. Fists away from the body - an open protest. Fingers are large, like nails (thorns) - hostility.

The fingers are one-dimensional, looped around - conscious efforts against aggressive feelings.

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

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

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

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

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

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

Feet disproportionately small - stiffness, dependence.

Pose

The face is depicted in such a way that the back of the head is visible - a tendency towards isolation.

Head in profile, body full face - anxiety caused by the social environment and the need for communication.

A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.

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

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

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

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

A person in a smooth light step - good adaptability.

Man - absolute profile - serious detachment, isolation and oppositional tendencies.

The profile is ambivalent - certain parts of the body are depicted on the other side in relation to the rest, 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 an open hostility towards women.

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

Background. Environment

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

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

The weapon is aggression.

Multidimensional Criteria

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

Buttons, belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.

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

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

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

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

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

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

The bright line is rudeness. Strong pressure - energy, perseverance. Great tension.

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

Lines with pressure - aggressiveness, perseverance.

Uneven, unequal pressure - impulsiveness, instability, anxiety, insecurity.

Changeable pressure - emotional instability, labile moods.

Stroke length

If the patient is excitable, the strokes are shortened; if not, they are lengthened.

Direct strokes - stubbornness, perseverance, perseverance. Short strokes - impulsive behavior. Rhythmic shading - sensitivity, sympathy, looseness.

Short, sketchy strokes - anxiety, uncertainty. The strokes are angular, constrained - tension, isolation.

Horizontal strokes - emphasizing the imagination, femininity, weakness.

Vague, varied, changeable 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. Erasures - 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 drawn object or to what it symbolizes for the subject.

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

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

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

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

The lack of symmetry is insecurity.

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

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

Details

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

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

An excess of details - the "inevitability of corporality" (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 to isolation. Particularly scrupulous detailing - stiffness, pedantry.

Job Orientation

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

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

Apologizing because of the drawing is a lack of confidence.

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

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

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

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

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

"Wood"

The interpretation according to K. Koch comes from the provisions of K. Jung (a tree is a symbol of a standing person). The roots are the collective, the unconscious. Trunk - impulses, instincts, primitive stages. Branches - passivity or opposition to life.

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

We would like to draw attention to the fact that when communicating with normal people in the process of psychological counseling, it is hardly permissible to pronounce such epithets addressed to them.

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

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

Roots

The roots are smaller than the trunk - craving for hidden, closed. The roots are equal to the trunk - a stronger curiosity, already presenting a problem.

Roots larger than the trunk - intense curiosity, can cause anxiety.

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

Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.

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

The arrangement on the sheet is dual - the attitude to the past, to what the drawing depicts, i.e. to your action. Double desire: independence and protection within the environment. The central position is the desire to find agreement, balance with others. It indicates the need for a rigid and rigorous systematization based on habits.

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

foliage shape

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

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

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

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

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

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

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

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

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

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

Blackening, shading - tension, anxiety.

Trunk

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

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

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

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

Foliage with thin lines - subtle sensitivity, suggestibility.

Trunk lines with pressure - determination, activity, productivity.

Trunk lines are straight - dexterity, resourcefulness, does not linger on disturbing facts.

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

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

The branches are not connected with the trunk - a departure from reality that does not correspond to desires, an attempt to "escape" into dreams and games.

The trunk is open and connected with foliage - high intelligence, normal development, the desire to preserve the inner world.

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

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

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

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

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

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

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

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

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

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

3/8 - good control and reflection,

1/2 - internalization, hopes, compensatory dreams,

5/8 - intense spiritual life,

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

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

Image manner

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

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

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

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

Landscape - means sentimentality.

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

Earth

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

The earth is depicted in several different ways - acting according to its own rules, the need for an ideal. Several joint lines depicting the earth and touching the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.