Special psychology test tree house man. How to get to know a child better using the “House, tree, person” technique? Processing and interpretation of the results of the child
Method "House - Tree - Man" by J. Book
Projective method of personality research. It was proposed by J. Book in 1948. The test is intended for examination of both adults and children, a group examination is possible.
The subject is asked to draw a house, a tree and a person. Then a detailed survey is conducted. The author substantiates the choice of objects for drawing by the fact that they are familiar to every subject, are most convenient as objects for drawing, and, finally, stimulate freer verbal expressions than other objects.
According to J. Book, each drawing is a kind of self-portrait, the details of which have a personal meaning.
From the drawing, one can judge the affective sphere of the personality, its needs, the level of psychosexual development, etc. In addition to using the test as a projective technique, the author demonstrates the ability to determine the level intellectual development(the rank correlation coefficient with intelligence tests is 0.41-0.75). Foreign researchers declare the need for additional study of the validity of the methodology as a tool for measuring intelligence and personality traits. The test is used in Russia, included in the Kern-Jerasek method.
Instruction
Material:
* a white sheet of paper folded in half and thus forming 4 pages measuring 15x21. The first page is intended to record the date and record the necessary data regarding the subject, the next three pages are reserved for drawings and are respectively entitled House, Tree, Man;
* post-picture survey form;
* several simple pencils No. 2 with erasers (pencil No. 2 was chosen because it turned out to more accurately reflect the subject's motor control, pressure, and the quality of lines and shading);
* form of quantitative processing;
* management.
Individual testing
During individual testing, the researcher places a picture form in front of the subject, so that he sees only the second page with the inscription "House", located at the top from the point of view of the subject; after which he says
instruction:
“Take one of these pencils. I want you to draw the house as best you can. You can draw any type of house you want. This is entirely up to you to decide. You can erase the drawing as much as you like - this will not affect your score. You can think about the drawing for as long as you need. just try to draw the house as best you can."
If the subject expresses refusal (people of middle and old age often do this), stating that he is not an artist, that when he went to school they did not teach him how to draw as they do now, etc., the researcher must convince the subject that DDT is not a test of artistic ability, in that it is not interested in the ability of the subject to draw as such. If the subject asks for a ruler or tries to use an object as a ruler, the researcher should tell him that the drawing must be done by hand. This is followed by similar instructions regarding tasks related to drawings of a tree and a human figure.
Record.
While the subject is drawing a house, a tree, and a person, the researcher must write down each time;
1) the following aspects regarding time: (a) the amount of time elapsed from the moment the researcher gave the instruction to the moment the subject began to draw; (b) the duration of any pause that occurs in the process of drawing (correlating it with the execution of a particular detail); (c) the total time spent by the subject from the moment he was given the instruction until he reported that he had completely finished the drawing (for example, at home);
2) the names of the details of the drawings of a house, a tree and a person, in the order in which they were drawn by the subject, numbering them sequentially. Deviations from the sequence of depicting details that occur in the work of well-adjusted subjects usually turn out to be significant; an accurate record of such a case is necessary, since the omission of the examiner's deviation from the attention of the researcher may prevent a sufficiently high-quality assessment of the completed drawing as a whole;
3) all spontaneous comments (if possible verbatim) made by the subject in the process of drawing a house, a tree and a person and correlate each such comment with a sequence of details. The process of drawing these objects may give rise to comments that at first glance are completely inconsistent with the objects depicted, which, nevertheless, can provide a lot of interesting information about the subject;
4) any emotion (the most insignificant) shown by the subject during the test and associate this emotional expression with the detail depicted at that moment. The process of drawing often causes strong emotional manifestations in the subject and these should be recorded.
To keep records more successfully, the researcher must make sure that he can easily observe the drawing process. It was noted that the most convenient position for the researcher is to the left of the right-handed subject and to the right of the subject if he is left-handed. However, in some cases the subjects may be very anxious or very suspicious and will hide their drawings, in such cases it is best not to insist that they allow the researcher to observe the drawing process.
To make it easier to record sequences of detail, spontaneous comments, etc., the researcher can use the recording system below as an example.
House
1. Roof.
2. Window with glass on the roof.
3. Roof over the porch (main wall) - "I can take the tools and do it much better" (tense laughter).
4. Porch posts.
5. Door.
6. Window, top right, with glass.
7. Window, lower left, with glass.
8. Window, top center, with glass.
9. Windows (left and right) on the sides of the door, with glass.
10. Window, upper left, with glass.
11. Top window in the center, with glass.
12. Roof material.
13. Roof of the side porch and pillar.
14. "Perhaps this is all that could be drawn, except for the garage."
15. Foundation.
16. Pause 18 sec.
17. "A couple of trees."
18. Tree on the left, then tree on the right.
19. Road from the side porch.
20. Walkway from the front entrance.
21. "Let's allow it here" - a bush.
Time - 5 min 13 s
If the task was preceded by a pause, this should be recorded under item 1, and the first detail drawn in this case is recorded under number 2, etc.
The relationship of spontaneous utterances and/or expression of emotions with the details of the drawing is determined by the position of the spontaneous utterance and/or emotional manifestation in the recorded material. For example, if a spontaneous statement or emotion was written before a detail, but under one item, it means that it took place at the time when the subject began to draw this detail. If a comment or emotion was written under the same paragraph with a detail, but after it, then this happened later. If, apart from a spontaneous statement or emotion, nothing is written in the paragraph, then this happened after the previous detail was completed, and before the next one was started.
Post-drawing survey.
After the non-verbal phase of DDD is completed, the researcher should offer the subject the opportunity to characterize, describe and interpret the drawn objects and their surroundings, as well as express associations associated with them. He must also take into account the fact that the process of drawing a house, a tree, and a person often evokes strong emotional reactions, so that after completing the drawings, the subject is likely to verbalize what he has not been able to express until now. Clearly, if the subject is less withdrawn and hostile and more intelligent, the second phase of the DD can be more productive.
The questionnaire, consisting of 64 questions, has a "spiral" structure, the purpose of which is to avoid formalized answers from the subject and prevent memorization of what he had previously said in connection with a specific picture. Direct and concrete questions are replaced by more indirect and abstract ones.
PRO is not a rigidly limited procedure, the researcher can always continue the survey in a way that is productive in his opinion. In all cases, he must determine exactly what meaning the stimulus words "House", "Tree" and "Man" have for the subject.
Post Drawing Survey Form
Ch1. Is it a man or woman (boy or girl)?
Ch2. How old is he/she?
Ch3. Who is he?
Ch4. Is it your relative, friend or someone else?
CH5. What were you thinking about when you drew?
CH6. What is he doing? (Where is he at this time?)
Ch7. What is he thinking about?
CH8. What does he feel?
CH9. What does the drawn person make you think?
Ch10. Who does this person remind you of?
Ch11. Is this person healthy?
Ch12. What exactly in the picture makes such an impression on you?
Ch13. Is this person happy?
Ch14. What exactly in the picture makes such an impression on you?
CH15. What do you feel about this person?
CH16. Do you think this is typical for most people? Why?
CH17. What do you think the weather is like in the picture?
CH18. Who does this person remind you of? Why
CH19. What does a person want the most? Why?
Ch20. How is this person dressed?
Dr1. What is this tree?
Dr2. Where is this tree actually located?
Dr3. What is the approximate age of this tree?
Dr4. Is this tree alive?
Dr5.
A. (If. the subject believes that the tree is alive)
a) What exactly in the picture confirms that the tree is alive?
b) Does the tree have some dead part? If there is, then which one?
c) What do you think caused the death of the tree?
d) When do you think this happened?
B. (If the subject believes that the tree is dead)
a) What do you think caused the death of the tree?
b) When do you think this happened?
Dr6. Who do you think this tree looks more like, a man or a woman?
Dr7. What exactly in the picture confirms your point of view?
Dr8. If there were a person here instead of a tree, in which direction would he look?
Dr9. Is this tree standing alone or in a group of trees?
dr10. When you look at a drawing of a tree, do you think it is above you, below you, or on the same level as you?
Dr11. What do you think the weather is like in this picture?
Dr12. Is there wind in the picture?
Dr13. Show me which direction the wind is blowing?
Dr14. Tell me more, what kind of wind is this?
Dr15. If you were to draw the sun in this picture, where would it be located?
Dr16. Do you think the sun is in the north, east, south or west?
Dr17. What does this tree make you think of?
Dr18. What does it remind you of?
Dr19. Is this tree healthy?
dr20. What exactly in the picture makes such an impression on you?
Dr21. Is this tree strong?
Dr22. What exactly in the picture makes such an impression on you?
Dr23. Who does this tree remind you of? Why?
Dr24. What does this tree need the most? Why?
Dr25. If instead of a bird (another tree or other object in the figure that is not related to the main tree), there was a person, then who could it be?
D1. How many floors does this house have?
D 2. Is this house brick, wooden or something else?
DZ. Is this your home? (if not, whose is it?)
D4. When you drew this house, who did you imagine as its owner?
D5. Would you like this house to be yours? Why?
D6. If this house were yours and you could dispose of it as you want:
a) Which room would you choose for yourself? Why?
b) With whom would you like to live in this house? Why?
D 7. When you look at a drawing of a house, does it seem close to you or far away?
D8. When you look at a drawing of a house, does it seem to you that it is located above you, below you, or approximately on the same level as you?
D9. What does this house make you think about?
D10. What does it remind you of?
D11. Is this house welcoming, friendly?
D12. What exactly in the picture makes such an impression on you?
D13. Do you think that these qualities are common to most houses? Why?
D14. What do you think the weather is like in this picture?
D15. What does this house make you think of? Why?
D16. What does this house need the most? Why?
D17. Where does this chimney lead?
D18. Where does this path lead?
D19. If instead of a tree (a bush, a windmill, or any other object in the picture that has nothing to do with the house itself) there was a person, then who could it be?
Upon completion of the post-drawing survey, the researcher will have to find out the possible significance that the presence of unusual, the absence of “mandatory” details in the drawings, any unusual proportional, spatial or positional relationships between the drawn objects or their fragments may have for the subject.
For example, the researcher should ask the subject about the meaning of such unusual details in a drawing of a house broken glass, leaky roof, collapsed chimney, etc., scars, broken or dead branches, shadows, etc. - in the drawing of a tree. It is generally accepted, for example, that scars on a tree trunk, broken or damaged branches, almost invariably symbolize "mental wounds" - a consequence of psychological trauma suffered by the subject in the past; the time when the traumatic episode (episodes) occurred can be determined by the location of the scar on the trunk, taking the base of the trunk (its part closest to the ground) for the period early childhood, the top of the tree - for the real age of the subject, and the distances between them - for the intermediate years. For example, if a 30-year-old subject drew a scar about one third of the trunk from its base, then the traumatic episode could presumably occur at 9-11 years of age. The researcher may ask, "What unusual thing happened to you when you were about 10 years old?" It is assumed that the subject can reflect in the picture only those events that he himself regards as traumatic, although from an objective point of view, completely different situations may turn out to be traumatic. It is believed that the image of the shadow in the figure is of great importance and can be: 1) a symbol of the feeling of anxiety experienced by the subject at the conscious level; 2) the presence of a factor that, by its constant presence in the psychological present or in the recent past, probably interferes with normal intellectual performance. We are talking about the conscious level, because usually the shadows are depicted on the ground, which symbolizes reality. The deterioration of intellectual performance is confirmed by absent-mindedness; the shadow implies the subject's awareness of the existence of another element - the sun, which is usually forgotten to draw, this, in turn, has a certain qualitative value. The researcher needs to pay attention to which surface the shadow falls on: water, earth, snow or ice...
In addition, he must find out the possible significance of scars or mutilations in a drawing of a person.
The researcher should try to get from the subject an explanation for the absence of ordinary details - windows, doors or a chimney in the drawing of the house; branches in a tree pattern; eyes, ears, mouth, feet, etc. in a drawing of a person - in the event that the assumption of mental retardation of the subject is unfounded.
If some unusual positional relations of objects are noted in the figure, then it is necessary to determine what caused this. For example, if a rickety house is drawn, a tree leaning to one side or a tree with a twisted trunk, or a person as if falling, the researcher should ask the subject to explain the reason for this situation. As mentioned above, in the drawing of a tree, each side has its own temporary meaning (the right side is the future, the left is the past), the same, although not so definitely, can be said about the drawing of the House. However, it turned out that this rule does not apply to a drawing of a person, because - if we talk about a drawing of a person in profile - a right-handed person usually draws a figure facing left, and a left-hander - facing right.
The researcher should try to establish the reasons for any unusual position of the hands or feet of the drawn person. If a person is drawn in an absolute profile (i.e., so that only one side of him is visible, and there are no signs of the existence of the other), the researcher should ask the subject to describe: 1) the position of the invisible hand, 2) if there is anything in this hand, what exactly, 3) what the drawn person does with this hand.
The time of the post-drawing survey is not limited. However, if the examination is prolonged and its volume exceeds the volume of the formal part (64 questions and the additional survey given above), then its completion is probably better to be postponed to the next session.
It was found that sometimes it is very useful to let the subject express his associations regarding the content of the drawings and the PRO.
In conclusion, we can say that PRO has 2 goals: 1) to create favorable conditions for the subject, describing and commenting on the drawings personifying a dwelling, an existing or once existing object and a living or once living person, could reflect his feelings, relationships, needs etc.; 2) provide the researcher with an opportunity to clarify any unclear aspects of the drawings.
Group testing
Ceteris paribus, the DDS method is more productive in individual testing than in group testing. However, it is obvious that this method has a certain position among group tests. As such, it is best used as a screening test to identify within a group of subjects who deviate from the average level of personal development and adaptability. In addition, the technique can be used to determine the degree of recovery in the process of group therapy, but from this side it has not yet been sufficiently studied.
Instructions.
Before starting the task, the researcher should turn to the subjects with a request to draw as better house, tree and person in the order listed and tell them that they are mine to erase the drawing as much as they like without fear of reprimands, that they can spend as much time as they need, and that everyone, as soon as he finishes this or that drawing, must report with it to the researcher so that he can record the amount of time spent.
In some cases, it may be necessary to impose a certain time limit (preferably at least 30 minutes), in which case the subjects should be fully informed of this before they begin to draw.
The researcher must show the subjects a drawing form and show them each page to complete the corresponding drawing. After that, they can start the task.
Record.
The researcher should record the time used by each subject to complete a particular drawing. While the subjects are busy drawing, the researcher should walk about unobtrusively, observing them, and record instances of emotional manifestations, unusual sequences of details, etc., whenever he notices anything of the sort. Obviously, the observation will not be as complete as with individual examinations.
Post-drawing survey.
The researcher should give each subject a form with PRO and ask them to answer in writing the questions printed on this form.
Interpretation.
HOUSE
The house is old, collapsed - sometimes the subject in this way can express his attitude towards himself.
Home away - a feeling of rejection (rejection).
Home near - openness, accessibility and (or) a sense of warmth and hospitality.
Plan of the house (projection from above) instead of the house itself - serious conflict.
Miscellaneous buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.
Shutters closed - subject is able to adjust in interpersonal relationships.
Steps leading to a blank wall (without doors) - reflection conflict situation detrimental to a correct assessment of reality. The inaccessibility of the subject (although he himself may desire free cordial communication).
Walls
The back wall, located unusually - conscious attempts at self-control, adaptation to conventions, but at the same time, there are strong hostile tendencies.
The contour of the back wall is much brighter (thicker) compared to other details - the subject seeks to maintain (not lose) contact with reality.
The wall, the absence of its base is a weak contact with reality (if the drawing is placed below).
A wall with an accentuated contour of the base - the subject is trying to displace conflict tendencies, experiencing difficulties, anxiety.
A wall with an accentuated horizontal dimension is a poor orientation in time (the dominance of the past or the future). It is possible that the subject is sensitive to environmental pressure.
Wall; the lateral contour is too thin and inadequate - a premonition (threat) of a catastrophe.
Wall: the contours of the line are too accentuated - a conscious desire to maintain control.
Wall: 1D perspective - only one side 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 readiness for contacts, and the absence of curtains - the 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 bottom, but there are on top floor- the gap 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, unusual for the drawing - fixation on fantasies as a source of pleasure, usually accompanied by anxiety.
The roof, the thin contour of the edge - the experience of weakening the control of fantasy.
Roof, thick outline of the edge - excessive concern for control over fantasy (curbing it).
A roof that is poorly combined with the lower floor is a bad personal organization.
The cornice of the roof, its accentuation with a bright contour or extension beyond the walls, is a heavily protective (usually suspicious) installation.
Room
Associations may arise in connection with:
1) the person living in the room,
2) interpersonal relationships in the room,
3) the purpose of this room (real or attributed to it).
Associations can have a positive or negative emotional connotation.
Room that did not fit on the sheet - the unwillingness of the subject to depict certain rooms due to unpleasant associations with them or with their tenant.
Subject selects nearest room - suspiciousness.
Bath - performs a sanitary function. If the manner in which the bathtub is depicted is significant, these functions may be impaired.
Pipe
Lack of a pipe - the subject feels a lack of psychological warmth at home.
The pipe is almost invisible (hidden) - unwillingness to deal with emotional influences.
The pipe is drawn obliquely with respect to the roof - the norm for a child; significant regression if found in adults.
Drainpipes - enhanced protection and usually suspiciousness.
Water pipes (or drainpipes from the roof) - 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 desire protect yourself with protective barriers.
The bushes are randomly scattered around the space or on both sides of the path - a minor anxiety within reality and a conscious desire to control it.
The path, well proportioned, easily drawn, shows that the individual, in contact with others, exhibits tact and self-control.
The path is very long - reduced availability, often accompanied by a need for more adequate socialization.
The path is very wide at the beginning and narrows very much towards the house - an attempt to mask the desire to be alone, combined with superficial friendliness.
Weather (what kind of weather is depicted) - reflects the experiences of the subject as a whole related to the environment. Most likely, the worse, more unpleasant the weather is depicted, the more likely that the subject perceives the environment as hostile, fettering.
Color
Color, its usual use:
green - for the roof;
brown - for walls;
yellow, if used only to depict the light inside the house, thereby displaying the night or its approach, expresses the feelings of the subject, namely:
1) the environment is hostile to him,
2) his actions must be hidden from prying eyes.
Number of colors used:
a well-adapted, shy, and emotionally insecure subject usually uses no less than two and no more than five colors. A subject who paints a house with seven or eight colors is, at best, very labile. Using only one color is afraid of emotional excitement.
Color selection
The longer, more uncertain, and harder the subject selects colors, the greater the likelihood of personality disorders.
Color black - shyness, fearfulness.
Color green - the need to have a sense of security, protect yourself from danger. This position is not so important when using green for the branches of a tree or the roof of a house.
The color orange is a combination of sensitivity and hostility.
The color purple is a strong need for power.
The color red is the most sensitive. Demand for heat from the environment.
Color, hatching 3/4 sheet - lack of control over the expression of emotions.
Hatching that goes beyond the pattern is a tendency to an impulsive response to additional stimulation.
The color yellow is a strong sign of hostility.
General form
Placing a drawing on the edge of a sheet is a generalized feeling of insecurity, danger. Often associated with a specific time value:
a) 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" (the individual correctly draws one end of the house, but draws a vertical line of the roof and walls in the other - he does not know how to depict depth) - signals the beginning difficulties of integration, fear of the future (if the vertical side line is on the right) or 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 for 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 - than more drawing above the center, the more likely it is that:
1) the subject feels the severity of the struggle and the relative unattainability of the goal;
2) the subject prefers to seek satisfaction in fantasies (internal tension);
3) the subject tends to 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 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.
Placing a picture on the right half of the sheet - the subject is inclined to seek pleasure in the intellectual spheres. controlled behavior. Emphasis on the future.
The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free, frank emotional experiences.
Going beyond the right edge of the sheet is the desire to "escape" into the future in order to get rid of the past. Fear of open free experiences. The desire to maintain tight control over the situation.
Going beyond the top edge of the sheet - fixation on thinking and fantasy as sources of pleasure that the subject does not experience in real life.
The contours are very straight - rigidity.
The contour is sketchy, used constantly - at best, pettiness, striving for accuracy, at worst - an indication of the inability to take a clear position.
"HUMAN"
Head
Sphere of intelligence (control). Realm of the imagination. The 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.
A thick short neck is a concession to one's weaknesses and desires, an expression of an unsuppressed impulse.
Shoulders, their sizes
A sign of physical strength or a need for power. Shoulders excessively large - feeling of great strength or excessive preoccupation with strength and power.
Small shoulders - a feeling of low value, insignificance. The shoulders are too angular - a sign of excessive caution, protection.
Sloping shoulders - despondency, despair, guilt, lack of vitality.
Broad shoulders - strong bodily impulses.
torso
Symbolizes courage.
The body is angular or square - masculinity.
The body is too large - the presence of unsatisfied, acutely aware of the subject's needs.
The torso is abnormally small - a feeling of humiliation, low value.
Face
Facial features include eyes, ears, mouth, nose. It is sensory contact with reality.
The face is emphasized - a strong preoccupation with relationships with others, with one's appearance.
The chin is too emphasized - the need to dominate.
The chin is too large - compensation for perceived weakness and indecision.
Ears are too emphasized - auditory hallucinations are possible. They are found in those who are especially sensitive to criticism.
Small ears - the desire not to accept any criticism, to drown it out.
Eyes closed or hidden under the brim of a hat - a strong desire to avoid unpleasant visual influences.
The eyes are depicted as empty eye sockets, a significant desire to avoid visual stimuli. Hostility.
Eyes bulging - rudeness, callousness.
Small eyes - self-absorption.
Lined eyes - rudeness, callousness.
Long eyelashes - coquettishness, a tendency to seduce, seduce, demonstrate oneself.
Full lips on the face of a man - femininity.
Clown's mouth - forced friendliness, inadequate feelings.
A hollow mouth is a passive significance.
The 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 the chest - hostile-suspicious installation.
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.
The arms are 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. big hands and the man's legs - rudeness, callousness. Tapered arms and legs - femininity. Long arms - the desire to achieve something, to take possession of something.
Hands are long and weak - dependence, indecision, the need for guardianship.
Hands turned to the sides, reaching for something - addiction, desire for love, affection.
Arms outstretched at the sides - difficulties in social contacts, fear of aggressive impulses.
Strong hands - aggressiveness, energy. Hands are thin, weak - a feeling of insufficiency of what has been achieved.
Hand like a boxing glove - repressed aggression. Hands behind your back or in your pockets - guilt, self-doubt.
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 - 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 widely spaced - 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.
Robot instead male figure- depersonalization, the feeling of external controlling forces.
Figure of sticks - can mean evasion and negativism.
The figure of Baba Yaga is open hostility towards women.
Clown, caricature - a feeling of inferiority inherent in adolescents. Hostility, contempt itself.
Background. Environment
Clouds - fearful anxiety, fears, depression. Fence for support, contour of the earth - insecurity. The figure of a man in the wind is a need for love, affection, caring warmth.
The base line (earth) - insecurity. Represents the necessary reference point (support) for constructing the integrity of the picture, gives stability. The meaning of this line sometimes depends on the quality attached to it by the subject, for example, "a boy rides a thin ice". The base is more often drawn under a house or a tree, less often - under a person.
Weapon - aggression.
Multidimensional Criteria
Line breaks, erased details, omissions, accentuation, shading - the sphere of conflict.
Buttons, a belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.
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 strokes - perseverance, security.
Lines of unequal brightness - voltage. Thin extended lines - tension. The unbreakable, underlined contour framing the figure is isolation.
Sketchy outline - anxiety, timidity. Contour break - sphere of conflicts. Underlined line - anxiety, insecurity. sphere of conflict. Regression (especially in relation to the underlined detail).
Jagged, uneven lines - audacity, hostility. Confident solid lines - ambition, zeal.
The bright line is rudeness.
Strong pressure - energy, perseverance. Great tension.
Light lines - lack of energy. Light pressure - low energy resources, stiffness.
Lines with pressure - aggressiveness, perseverance.
Uneven, unequal pressure - impulsiveness, instability, anxiety, insecurity.
Changeable pressure - emotional instability, labile moods.
Stroke length
If the patient is excitable, the strokes are shortened; if not, they are lengthened.
Direct strokes - stubbornness, perseverance, perseverance. Short strokes - impulsive behavior. Rhythmic shading - sensitivity, sympathy, looseness.
Short, sketchy strokes - anxiety, uncertainty. The strokes are angular, constrained - tension, isolation.
Horizontal strokes - emphasizing the imagination, femininity, weakness.
Vague, varied, changeable strokes - insecurity, lack of perseverance, perseverance.
Vertical strokes - stubbornness, perseverance, determination, hyperactivity.
Hatching from right to left - introversion, isolation. Hatching from left to right - the presence of motivation. Hatching from oneself - aggression, extraversion. Erasure - anxiety, apprehension. Frequent erasures - indecision, dissatisfaction with oneself. Erasing on redraw (if the redraw is more perfect) is a good sign.
Erasing with subsequent damage (deterioration) of the picture -
the presence of a strong emotional reaction to the object being drawn or to what it symbolizes for the subject.
Erasing without trying to redraw (i.e. correct) is an internal conflict or conflict with this detail itself (or with what it symbolizes).
Big drawing - expansiveness, a tendency to vanity, arrogance.
Small figures - anxiety, emotional dependence, feelings of discomfort and stiffness.
A very small figure with a thin contour - stiffness, a sense of low value and insignificance.
The lack of symmetry is insecurity.
The drawing at the very edge of the sheet is dependence, self-doubt.
Drawing on the whole sheet - compensatory exaltation of oneself in the imagination.
Details
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 towards isolation.
Particularly scrupulous detail - stiffness, pedantry.
Job Orientation
The ability to critically evaluate a drawing when asked to criticize it is the criteria for unlost contact with reality.
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.
Stubbornly 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 point out that when dealing with normal people in the process psychological counseling it is hardly permissible to pronounce such epithets in their address.
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 - a craving for a hidden, closed. The roots are equal to the trunk - a stronger curiosity, already presenting a problem.
Roots larger than the trunk - intense curiosity, can cause anxiety.
The roots are marked with a line - childish behavior in relation to what is kept secret.
Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.
Symmetry - 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 relation 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-mesh, more or less dense - more or less dexterity in avoiding problem situations.
Foliage of curved lines - receptivity, open acceptance of the environment.
Open and closed foliage in one picture - the search for objectivity.
Closed foliage - guarding one's own inner world childish way.
Closed dense foliage - hidden aggressiveness. Foliage details that are not related to the whole - insignificant details are taken to characterize 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. Palma - 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.
A trunk in the shape of a broken dome - a desire to be like a mother, to do everything like her, or a 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 - thin sensitivity, suggestibility.
Trunk lines with pressure - determination, activity, productivity.
The lines of the trunk are straight - dexterity, resourcefulness, does not linger on disturbing facts.
Trunk lines are crooked - activity is inhibited by anxiety and thoughts about insurmountable obstacles.
"Vermicelli" - a tendency to stealth for the sake of abuse, unforeseen attacks, hidden rage.
The branches are not connected with the trunk - a departure from reality that does not correspond to desires, an attempt to "escape" into dreams and games.
The trunk is open and connected with foliage - high intelligence, normal development, the desire to preserve the inner world.
The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.
The trunk is limited from below - a feeling of unhappiness, the search for support.
The trunk expands downwards - the search for a reliable position in its circle.
The trunk tapers downward - a sense of security in a circle that does not give the desired support; isolation and the desire to strengthen one's "I" against a restless world.
The overall height - the bottom quarter of the sheet - dependence, lack of faith in oneself, compensatory dreams of power.
The lower half of the leaf - less pronounced dependence and timidity.
Three-quarters of a leaf is a good adaptation to the environment. The sheet is used in its entirety - it wants to be noticed, count on others, 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 - almost full page foliage - flight into dreams.
Image manner
Sharp peak - defends itself from danger, real or imaginary, perceived as a personal attack; desire to act on others, attack or defend, difficulty in contacts; wants to compensate for the feeling of inferiority, the desire for power; seeking a safe haven due to feelings of abandonment to a solid position, need for tenderness.
Plurality of trees (several trees on one leaf) - 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 some order.
The earth is depicted in several different ways - acting according to its own rules, the need for an ideal. Several common lines depicting the earth and touching the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.
A special way of interpretation may be the order in which the drawing of the house, the tree, and the person is done. If a tree is drawn first, then the main thing for a person is Vital energy. If the house is drawn first, then in the first place is safety, success, or, conversely, the neglect of these concepts.
Symptom complexes of aggressiveness in the test
Symptomo | Symptom | score |
Hostility | ||
No windows | ||
Keyhole door | ||
very large tree | ||
Tree with leaf edge | ||
Reverse profile of tree, human | ||
Branches of two dimensions, like fingers | ||
Eyes are empty sockets | ||
Long pointed fingers | ||
grin, teeth visible | ||
Aggressive stance of a man | 0,1,2 |
|
The back wall of the house is shown from the other side; unusual | ||
Doors with a huge lock | ||
Windows without glass | ||
No windows on the first floor of the house | ||
The hair is not shaded, not painted over, framing the head | 0,1,2 |
|
Arms crossed on chest | ||
Fingers are large, similar to nails (thorns) | 0,1,2 |
|
Cartoon image. | 0,1,2 |
|
jagged jagged lines | 0,1,2 |
|
Figure of Baba Yaga (for women) | ||
Crown - tangle | 0,1,2 |
|
Other possible signs | 0,1,2 |
|
Conflict | ||
Space restrictions | 0,1,2 |
|
Bottom perspective (worm's eye) | 0,1,2 |
|
Redrawing an object | ||
Refusal to draw any object | ||
A tree is like two trees | ||
A clear discrepancy in the quality of one of the drawings | ||
Inconsistency between drawing and statement | ||
High waist | ||
Roof chimney missing | ||
Other possible signs | ||
Aggressiveness | ||
Miscellaneous buildings | 0,1,2 |
|
Nostrils too pointed | ||
Teeth clearly drawn | 0,1,2 |
|
Hands are strong | 0,1,2 |
|
Hand like a boxing glove | ||
Fingers separated | 0,1,2 |
|
thumbs | ||
More than five fingers. | ||
Fingers long | ||
Weapon | 0,1,2 |
|
Few curved lines, many sharp corners. | 0,1,2 |
|
Lines with pressure | 0,1,2 |
|
Hatching from yourself | 0,1,2 |
|
closed dense foliage | 0,1,2 |
|
trunk shading | ||
Other possible signs | ||
Negativism | ||
Miscellaneous buildings | 0,1,2 |
|
Side wall shown in 1D perspective | ||
Ears are small | ||
Ears are too pointed | 0,1,2 |
|
Fingers clenched into a fist | 0,1,2 |
|
Fists pressed to the body | ||
Fists away from the body | 0,1,2 |
|
Legs disproportionately long | ||
Legs wide apart |
The technique "House - Tree - Man" is used by a psychotherapist to diagnose a person or group. This technique is universal, because all three topics - house, tree, person - are clear even to small children. It is used in individual and group work, to identify common features in the group; in working with children who are just starting school; in personnel selection.
The instructions for this technique are very simple. The test-taker is asked to draw a house, a tree and a person. The instruction does not contain additional comments and the subject draws them as he wants. The peculiarity of this technique is that the sequence of presentation of topics always remains unchanged, because. in accordance with the presented topic, the level of psychological difficulty increases, because a tree, especially a person, provokes personal reactions more strongly.
When drawing a house, a person always reflects issues related to his family, his place in it. Also, the house is a place where we are looking for warmth, comfort, care, love, security (for example, a house with a chimney from which smoke comes out is often associated with a desire for warmth and comfort).
A separate interpretation of the drawing of the house is possible. So if a child draws a house, then the drawing can reflect the attitude towards parents, brothers, sisters. The details of the house are important, as children under 8 usually draw a chimney vertically in relation to the sloping plane of the roof, this indicates that the child has crossed an important threshold in his cognitive development. An adult drawing a house can project his family relationships with his husband / wife.
But a more complete, accurate interpretation is possible after taking into account all the details of the three drawings, as well as comparing the results of other methods, medical history.
1. Details:
Basic (norm) - at least one door, one window, one wall, roof and chimney.
Additional (bushes, flowers, path, etc.) - the need for additional ordering of the surrounding space, which is sometimes associated with a lack of a sense of security or a desire to control interpersonal conflicts.
2. Trumpet - a symbol of warm, intimate relationships; can sometimes be associated with phallic symbolism.
Lack of a pipe - no warmth in the mental sphere or the presence of conflicts with an important male person.
Too big pipe - the sexual sphere is too exaggerated, exhibitionistic tendencies are also possible.
A lot of smoke - speaks of internal tension.
At the base of the house, without stairs - inaccessibility in interpersonal contacts.
Absence of a door - extreme difficulties in contacts with other people.
Open doors - a strong need to receive heat from the outside world.
Very large doors - excessive dependence on others.
With a lock or with curtains - defensiveness, i.e. defensive position.
4. Fence around the house - the need for emotional protection.
5. Gutter - suspicion.
Flat (one line between two walls) - lack of imagination or emotional retardation.
A very large roof - the search for satisfaction in fantasies.
7. Shutters:
Closed shutters - extreme defensiveness (defensive position).
Open shutters - the ability to adapt in interpersonal contacts.
8. Path:
Very long path – limited accessibility.
A narrow path near the house, a wide one at the other end - the person is superficially friendly.
9. Walls (their solidity) - directly related to the strength of the Ego.
No windows - hostility, flight.
Only on the first floor is the gap between reality and fantasy.
With vents - reserve, self-control.
Without curtains - open, direct behavior.
Also, the location of the drawing on the sheet must be taken into account when interpreting:
Drawing adjacent to the lower border of the sheet - lack of a sense of security in family or intimate life.
House in perspective, viewed from below - denial of the house or feeling that it is impossible to achieve the desired situation at home.
House in perspective, top view - denial of the home situation.
The tree drawing reveals specific situations of the past or reflects the personality traits of the person being tested. It shows long-term, unconscious feelings towards one's self.<Я>, the tree is also associated with the life role of the painter and his ability to accept rewards from the environment. It is much easier to project negative feelings about oneself onto a tree than onto a drawing of a house, while at the same time it evokes fewer direct associations than a drawing of a person.
Bolander K. and Koch K. proposed to take the image of a tree as a separate diagnostic indicator.
Deciphering symbols and signs (basic)
1. A very large tree - a tendency to aggression.
2. Small tree - low self-esteem.
3. Thin line - a feeling of inadequacy, indecision.
4. A tree consisting of only two lines, symbolizing the trunk and mugs instead of the crown - impulsiveness, variability.
5. Excessively stressed trunk - emotional immaturity.
6. Overly emphasized crown - emotional retardation, limited ability to reason.
7. Scars, hollow, broken branch - trauma, accident, illness, rape (the time of this incident corresponds to the position of the sign).
8. The absence of lines symbolizing the earth - susceptibility to stress.
9. The line of the earth is marked, but there are no roots - repressed emotions.
10. Darkened planes, very dark or heavily outlined - defensive hostility or aggressive behavior.
11. Thin dashed line - pronounced anxiety.
12. Hollow - sexual symbolism.
Small or diamond-shaped - association with the vagina.
Small or round - experience of sexual persecution or early sexual experience.
Strongly marked contour - indicates a strong influence of the injury.
Concentric circles inside - the experience left in the past, "healed".
Shaded, shaded - shame associated with this experience.
Big - capture by the idea of reproduction.
With a small animal in the middle - ambivalence regarding paternity or motherhood.
Purpose: Identification of personality traits
Test "HOUSE. WOOD. HUMAN" (DDCH)
The American psychologist J. Buck (1948) was the first to create and develop a detailed system for interpreting the DPD test. The projective features of this test are due to the uncertainty of the presented stimulus. The words "house", "tree", "man" are familiar to everyone, but they are not specific, and therefore, when completing the task, the subject is forced to project his own representation of each object and his attitude to what this object symbolizes for him. In addition, the stimulus words "house", "tree", "man" themselves not only are not classes of objects, but also carry certain emotional loads. Therefore, the emotional reaction of the child during or in a conversation after drawing most often represents a personally significant reaction to an attitude, desire, feeling or object that is directly or symbolically present in the drawing. It is believed that a drawing of a house, a tree, a person is a kind of self-portrait of a drawing person, since in his drawing he represents those features of objects that are to some extent significant for him.
To perform the DDD test, the child under study is offered paper, a simple pencil, and a piece of paper. A standard drawing sheet is folded in half. On the first page in a horizontal position at the top is written "HOUSE", on the second and third in a vertical position at the top of each sheet - respectively "TREE", "MAN", on the fourth - the name and surname of the subject, the date of the study. For drawing, a simple 2M pencil is usually used, since when using this pencil, changes in pressure are most clearly visible.
Instruction for the child : "Please draw a house, a tree and a person." All clarifying questions of the subject should be answered that he can draw as he wants. The execution of the test itself consists of two parts: the drawing process and the conversation after it. A wealth of information is provided by observing how a child draws. Usually all spontaneous statements are recorded, any unusual movements are noted. When the child finishes drawing, he is asked a series of questions about his drawings. The survey usually begins with a drawing of a person. For example, they ask when he painted, the age of the drawn boy or girl, what he does, what mood he is in, whether he reminds one of his acquaintances. Usually a survey about drawings develops into a conversation about the child's life ideas.
Qualitative analysis of drawings is carried out taking into account their formal and substantive aspects. Informative formal features of a drawing are, for example, the location of the drawing on a sheet of paper, the proportions of individual parts of the drawing, its size, coloring style, pencil pressure, erasing the drawing or its individual parts, highlighting individual details. Content aspects include the features, movement, and mood of the drawn object.
For the analysis of drawings, aspects of evaluation are used - the details of the drawings, their proportions and perspective. It is believed that the details of the drawing represent the awareness and interest of a person in an everyday situation. The subject can show in his drawing which details are of personal significance for him in two ways: positive (if, while working on the drawing, the child emphasizes or erases some details of the drawing, and also if he returns to them) or negative (if he misses the main details of the drawn objects).
The interpretation of such significant details or complexes of details may reveal some conflicts, fears, experiences of the painter. But the meaning of such details should be interpreted taking into account the integrity of all drawings, as well as in cooperation with the artist, since symbolic meaning details are often individual. For example, the absence of such basic details of a person's drawing as a mouth or eyes may indicate certain difficulties in human communication or its denial. In the study, it is necessary to pay attention to the fact that children suffering from juvenile rheumatoid arthritis more often drew children with their hands hidden behind their backs, as well as without legs, or with arms or legs highlighted in some way. This indicates the experiences of children in connection with the soreness of the joints, often their deformity.
The proportions of the drawing sometimes reflect the psychological significance, importance and value of things, situations or relationships that are directly or symbolically represented in the drawing of a house, tree, or person. Proportion can be viewed as the ratio of the whole drawing to a given space of paper, or as the ratio of one part of the whole drawing to another. For example, very small drawing of a person can show a feeling of inadequacy of the subject in his psychological environment or a desire to austically get out of the situation. It is believed that perspective shows a more complex relationship of a person to his psychological environment. When evaluating the perspective, attention is drawn to the position of the drawing on the sheet in relation to the viewer (view from above or below), the relative position of the individual parts of the drawing, the movement of the drawn object. For example, a person drawn in motion (running, dancing, playing) most often shows the active creative attitude of the child to his life.
For quantification In the DDD test, generally accepted qualitative indicators were grouped into the following symptom components:
1. Insecurity.
2. Anxiety.
3. Distrust of yourself.
4. Feelings of inferiority.
5. Hostility.
6. Conflict (frustration).
7. Difficulties in communication.
8. Depression.
Each symptom complex consists of a number of indicators, which are evaluated by points. If the indicator is absent, zero is put in all cases. The presence of some signs is evaluated depending on the severity. So, the presence of clouds in one picture - 1 point, in two - 2, and in all three - 3 (symptom complex "Anxiety"). In the presence of most features, 1 or 3 points are assigned depending on the significance of this feature in the interpretation of a single pattern or the entire integrity of the test pattern. For example, the absence of the main details of the face (eyes, nose or mouth) - 2 points (symptom complex "Difficulties in communication" (see Table 1). The severity of the symptom complex shows the sum of the points of all indicators of this symptom complex.
Symptom complexes DDCH test
|
SYMPTOMOCOMPLEX |
SYMPTOM |
BALL |
|
insecurity |
1. Drawing in the very center of the sheet 2. Drawing in the upper corner of the sheet 3. House, tree - from the very edge 4. Drawing at the bottom of the sheet 5. Lots of minor details 6. Tree on the mountain 7. Highly accentuated roots 8. Disproportionate Long hands 9. Wide Legs 10. Other possible signs | |
|
Anxiety (fear) |
2. Highlight individual details 3. Space limitation 4. Hatching 5. Strong pressure line 6. Lots of erasing 7. Dead tree, sick person 8. Underlined base line 9. Thick line of the foundation of the house 10. Intensely shaded hair 11. Other possible signs | |
|
Self-distrust |
1. Very weak drawing line 2. House from the edge of the sheet 3. Weak stem line 4. One-dimensional tree 5. Very small door 6. Self-justifying reservations while drawing, covering the drawing with your hand 7. Other possible signs | |
|
Feelings of inferiority |
1. The drawing is very small 2. Missing arms, legs 3. Hands behind the back 4. Disproportionately short arms 5. Disproportionately narrow shoulders 6. Disproportionately large branch system 7. Disproportionately large two-dimensional leaves 8. A tree that died of decay 9. Other possible signs | |
|
Hostility |
1. No windows 2. Door - keyhole 3. A very large tree 4. Tree from the edge of the sheet 5. Reverse profile of a tree, a person 6. Branches of two dimensions, like fingers 7. Eyes - empty sockets 8. Long sharp fingers 9. Bared teeth 10. Aggressive stance of a person 11. Other possible signs | |
|
Conflict (frustration) |
1. Space limitation 2. Perspective from below, (look of the worm) 3. Redrawing an object 4. Refusal to draw any object 5. A tree is like two trees 6. A clear discrepancy in the quality of one drawing from the drawings 7. Inconsistency between drawing and statement 8. High waist 9. No pipe on the roof 10. Other possible signs | |
|
Difficulties in communication |
1. No door 2. Very small door 3. No windows 4. Windows - openings without frames 5. Unnecessarily closed windows 6. Dedicated face 7. Face drawn last 8. Lack of major facial features 9. A person is drawn schematically from sticks 10. Door without a handle 11. House, man in profile 12. Hands in a defensive position 13. Sayings about a drawn person as lonely, without friends 14. Other possible signs | |
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depression |
1. Putting the picture at the very bottom of the sheet 2. View of a tree or house from above 3. Base line going down 4. Line weakening in the process of drawing 5. Severe fatigue after drawing 6. Very small drawings 7. Other possible signs |
It is possible to interpret drawings of a house, a tree, and a person only when the child has drawn them in a standard test situation. Of course, it is possible to analyze other pictorial activity of the child in a psychologically informative way, but in these cases, somewhat different methods of interpretation are used. For example, if during the test a child draws only a house, or a house in some landscape, then it is clear that the assessment of the location of the house on the sheet, its size, perspective and additional details will differ significantly.
When interpreting the DDD test, it is necessary to proceed from the integrity of all drawings. The presence of only one sign does not indicate the presence of a certain psychological feature. Sometimes the interpretation hypotheses that have arisen can be tested in a conversation with the child. It is very interesting for a teenager to find out for himself what his drawings say about him.
The psychologist must structure the conversation in such a way that any characteristic does not become a suggestive cliché that could negatively influence the formation of the adolescent's future character. Avoiding explicit evaluation of identified psychological features, you can outline possible ways of self-education of the child. At this last stage, the elements of psychological correction come out especially brightly.
The DDD test is especially useful at the beginning of a psychological consultation because it can show whether the main problem of the counseled child is emotional or in the field of intellectual development.
If a child draws noticeably worse than most of his peers, if the drawings have a poor perspective and inadequate proportions, the main details of the objects drawn are not present, if the quality is poor in all three drawings, then you can think about a possible lag mental development. In this case, further research should be aimed at identifying the intellectual characteristics of the child.
If among the drawings only one stands out for its poor quality, it can be assumed that it evokes the most vivid emotional reaction of the painter. When the drawings reveal a greater severity of several symptom complexes, it can be assumed that the resolution of emotional problems is important for this child. Of course, it often happens that a child may have personal and emotional problems due to the inability to meet the required intellectual level. This is also usually projected in drawings. Drawings of the DDD test may show organic dysfunction of the CNS. There are five indicators of organic CNS damage:
1. Double lines in drawings.
2. Unconnected lines.
3. Strong bias of the drawn figure.
4. Very big head.
5. Head, inadequately highlighted in the drawing of a person.
The presence of more than three signs in the drawings suggests that the child who drew has an organic lesion of the central nervous system. This problem is important in the psychological diagnosis of underachieving junior schoolchildren. But it must be borne in mind that the presence of organic dysfunction of the central nervous system does not yet indicate a child's mental retardation. Often this can manifest itself as a local difficulty in certain areas of intellectual activity or at certain stages of it. Such children, for example, may be more likely to get tired, be less attentive. These features require special attention in the organization educational process at school and at home. Sometimes there are children with mild forms of dysgraphia or dyslexia who find it difficult to learn to read or write, but some easily overcome these difficulties when they are taught with special adequate methods.
Here is a test that is very useful if you want to learn something new about yourself. Very aptly reveals the main properties and personality traits ...
Here is a test that is very useful if you want to learn something new about yourself. Very aptly reveals the main properties and personality traits.
Take an A4 paper and fold it in half. Draw a house on the first side, a tree on the second, and a full-length person on the third.
Draw as well as you can, take your time. On the last page, you can record your results.
The results will surprise you!
check yourself
HOUSE
The house is old, collapsed - sometimes the subject in this way can express an attitude towards himself.
Home away - a feeling of rejection.
Home near - openness, accessibility, a sense of warmth and hospitality.
House plan (projection from above) - 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 on the windows are closed - the subject is able to adapt 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).
Doors:
Lack of doors - the subject has difficulty opening up to others (especially in the home circle).
Doors (one or more) rear or side - retreat, detachment, avoidance, rejection of reality, impregnability.
The doors are open - a sure sign of frankness, reachability. Ate a residential house - a strong need for warmth from the outside or the desire to demonstrate accessibility, frankness.
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 out your "I". Feelings of inadequacy, inadequacy, and indecisiveness in social situations.
Doors with a huge lock - hostility, suspiciousness, secrecy, protective tendencies.
Window:
The ground floor of the high-rise building was drawn last - disgust for interpersonal relationships, a tendency to isolation from reality.
The windows are very open, wide open - the subject behaves somewhat cheekily and straightforwardly. A lot of windows show readiness for contacts, and the absence of curtains - the lack of desire to hide their feelings.
Windows completely covered with curtains - preoccupation with interaction with the environment (if this is significant for the subject).
Windows without glass - hostility, alienation.
There are no windows on the lower floor, but there are on the upper floors - the "chasm" between real life and life in fantasy.
Roof:
A roof torn off by the wind or a destroyed chimney - symbolically express the feelings of the subject that they are commanded, regardless of his own willpower.
The roof is drawn with a thick outline, not typical of the rest of the drawing - fixation on fantasies as a source of pleasure, usually accompanied by anxiety.
The unusually thin contour of the edge of the roof is an experience of weakening the control of fantasies.
The unusually thick outline of the roof's edge is an over-concern with fantasy control.
The roof does not fit well with the lower floor - poor personal orientation.
The roof cornice is accentuated by a bright outline or extension beyond the walls - a heavily protective (usually suspicious) installation.
The smoke from the chimney is very thick - significant internal stress.
Smoke in a thin stream - a feeling of lack of emotional warmth at home.
Lack of a chimney - 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.
HUMAN
Head:
The 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 drawing of the head - shyness, timidity.
The head is drawn last - interpersonal conflict.
A large head in a figure of the opposite sex is an imaginary superiority of the opposite sex and its higher social priority.
Neck:
The emphasized neck is 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.
Face:
Limbs:
Large arm span - intense desire for action.
Hands are wider at the palms or at the shoulder - insufficient control of actions and impulsiveness.
Hands that are not merged with the body - the subject sometimes catches himself in actions or deeds that are out of his control.
Arms crossed on the chest - hostile-suspicious installation.
Hands behind your back - unwillingness to concede, to compromise even with friends. The tendency to control the manifestation of aggressive, hostile tendencies.
The arms are long and muscular - the subject needs physical strength, agility and courage as compensation.
The arms are too long - overly ambitious aspirations.
Hands relaxed and flexible - good adaptability in interpersonal relationships.
Hands are 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, need for guardianship.
Hands turned to the sides, reaching for something - addiction, desire for love, affection.
Arms outstretched at the sides - difficulties in social contacts, fear of aggressive impulses.
Strong hands - aggressiveness, energy.
Hands are thin, weak - a feeling of insufficiency of what has been achieved.
A hand like a boxing glove - repressed aggression.
Hands behind your back or in your pockets - a feeling of guilt or self-doubt.
Hands vaguely defined - lack of self-confidence in activities and social relations.
Large hands - compensation for perceived weakness and guilt.
Hands are missing from 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.
Fingers pressed to the body - a repressed protest.
Fists away from the body - an open protest.
The fingers are large, similar to nails or thorns - hostility.
The fingers are one-dimensional, drawn in the form of a loop - conscious efforts against aggressive feelings.
Legs disproportionately long - a strong need for independence and the desire for it.
The legs are too short - a feeling of physical and psychological awkwardness.
The drawing started with the feet and legs - timidity.
The feet are not shown - isolation.
Legs widely spaced - 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 disproportionately long - the need for security. The need to demonstrate courage.
Feet disproportionately small - stiffness, dependence.
Face:
The face is accentuated - 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 accentuated - auditory hallucinations are possible. Happens especially sensitive to criticism.
The ears are too small - the desire not to accept any criticism, to drown it out.
Eyes closed or hidden under the brim of a hat - a strong desire to avoid unpleasant visual influences.
The eyes are depicted as empty sockets - a significant desire to avoid visual stimuli, hostility.
Eyes bulging - rudeness, callousness.
Small eyes - self-absorption.
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, insincerity.
A hollow mouth is a passive significance.
The nose is wide, prominent, with a hump - a contemptuous attitude, a tendency to think in ironic social stereotypes.
Accentuated nostrils - primitive aggression.
The teeth are clearly drawn - aggressiveness.
The face is unclear, dull - fearfulness, shyness.
Obsequious facial expression - 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).
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.
WOOD
Foliage shape:
Round crown - exaltation, emotionality.
Circles in the foliage - a search for soothing and rewarding sensations, a feeling 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; fussiness, sensitivity to the environment.
Foliage of curved lines - susceptibility, open perception of the environment.
The branches come out of one area on the trunk - children's search for protection, the norm for a child under seven years old.
The branches are drawn in one line - an escape from the troubles of reality, its transformation and embellishment.
Palma - the desire to change places.
Weeping willow - lack of energy and enthusiasm, the desire for a solid support and the search for positive contacts, a return to the past and childhood experience, difficulty in making decisions.
Trunk:
A trunk from one line - a refusal to really look at things.
The trunk is drawn with thin lines, and the crown with thick ones - it can assert itself and act freely.
Trunk lines are straight - dexterity, resourcefulness, does not linger on disturbing facts.
Trunk lines are crooked - activity is inhibited by anxiety and thoughts about insurmountable obstacles.
The branches are not connected with the trunk - a departure from reality that does not correspond to desires, an attempt to "escape" from it into dreams and games.
The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.
The trunk expands downwards - the search for a reliable position in its circle.
The trunk tapers downwards - a sense of security in a circle that does not provide the desired support.
Other:
Two trees are drawn - in this way the subject can symbolize himself and another person close to him.
Many trees in one drawing - childish behavior, perhaps the subject does not follow the given instructions.
The earth is depicted with one line - focus on the goal, the adoption of some order.
The earth is depicted in several different ways - acting according to its own rules, the need for an ideal.published . If you have any questions on this topic, ask them to specialists and readers of our project .
P.S. And remember, just by changing your consciousness - together we change the world! © econet
Your task is to draw a house, a tree, a person on separate sheets.
Interpretation of results
To begin with, it is important to note in what order the drawings were made.
1. The house is drawn first - safety, coziness, and comfort are of paramount importance to you.
2. The tree is drawn first - the main thing for you is vitality, professional and creative growth.
3. The first person is drawn - your main needs (or problems) lie in the sphere of relations with yourself.
1. The figure at the bottom of the sheet indicates that you often experience a feeling of insecurity, sometimes a tendency to depression.
2. The drawing is located at the top of the sheet - you are most likely an optimist. It gives you great pleasure to fantasize.
If the drawing goes beyond the top edge of the sheet, what surrounds you is not enough for you to realize your ideas. Perhaps you are experiencing a strong annoyance about this.
3. The drawing is located above the center of the sheet - dreaminess, thoughtfulness, expressed the stronger, the higher the drawing is above the center.
4. The drawing is located below the center of the sheet - you are very careful and sometimes you see danger even where there is none.
5. The drawing is located exactly in the center of the sheet - frankness, straightforwardness.
6. The drawing is located on the left side of the sheet - you live in the past. Your feelings prevail over reason, and feminine traits character - over men's.
If the drawing is placed in the upper left corner of the sheet, then you are deliberately "driving yourself into a corner", avoiding new friends, impressions, events.
The drawing goes beyond the left edge of the sheet - you constantly turn to your past and are afraid to look into the future. Your behavior is often driven by emotions.
7. The drawing is located on the right side of the sheet - your mind prevails over feelings. You are able to restrain your emotions, look to the future without fear. Your character is dominated by masculine traits.
The exit of the drawing beyond the right edge of the sheet is the desire to forget about the past, to hide from it in the future. You are afraid to show your feelings.
8. Turning the sheet - you are upset or angry about something.
An old, dilapidated, frightening house, ruins - this is your attitude towards yourself or the reality around you.
The house standing in the distance is dissatisfaction with the situation in your house. The goal you are currently striving for is not yet available.
The house standing nearby is openness, hospitality, contact.
Extensions - the desire for something new, unusual. Non-standard problem solving.
The presence of a pipe indicates your emotional maturity, readiness for a serious relationship.
If the tube is missing, then you are not getting the support you need at home. There may be difficulties in communicating with the opposite sex.
The pipe is almost invisible - you carefully hide your emotions from others.
Too big a pipe - you really want to demonstrate your sexuality to others.
The pipe is drawn obliquely in relation to the roof - an indicator of low intelligence in an adult (for a child - the norm).
Water or drainpipes indicate that you are very sensitive to the opinions of others.
Doors depict your ability to communicate, make contact, build relationships with people.
Lack of doors - it is difficult for you to open up to other people (especially close ones), although you want to.
One or more side or rear doors - you prefer not to take risks, not to conflict, often retreat in the face of difficulties, love solitude.
One or more front doors - you are open and frank with others (sometimes even too much).
Very large doors - dependence on others, the desire for approval.
Very small doors - a tendency to hide some traits of one's character from others. Indecision.
Padlock on the door - isolation, secrecy, distrust of people.
Fireplace or stove - the desire to create a warm and cozy atmosphere in the house.
The plan (scheme) of the house instead of the house itself is a serious conflict with loved ones.
The roof is a realm of fantasy.
A roof torn off by the wind - your behavior is often controlled by circumstances beyond your control.
A roof drawn more carefully than the rest of the drawing - you get great pleasure from fantasizing.
The thick contour of the edge of the roof - you strive to control your fantasies.
The thin contour of the edge of the roof - you are worried that you are not controlling your fantasies effectively enough.
Roof too big - fantasy attracts you much more than reality.
Instead of a house, a roof and a fence are depicted - your assessment of the world around you may be erroneous.
Transparent walls - the need for constant control over the situation. Inadequate assessment of the surrounding reality. Demonstrativeness.
Lack of foundation of the wall - often your actions are based not on facts, but on your conjectures, prejudices.
If the base line of the wall is very thick, you most likely have increased anxiety.
Bold circled contour lines walls - the desire to control the situation.
Only one side wall is drawn - you often oppose yourself to those around you.
Only one front wall is drawn - you are trying to maintain visibility friendly relations with others, even in difficult situations.
The height of the walls is greater than their width - a developed fantasy, isolation is possible.
The width of the walls is greater than their height - dependence on the opinions of others. Poor timing.
Steps resting against a blank wall - external coldness and an internal need for communication. It may be difficult for you to look at yourself from the outside.
Transparent, glass house - you strive to demonstrate yourself or worry about the fact that your personal life is in full view.
A window or windows is a sign of accessibility, openness, contact.
Lack of windows - alienation, isolation, secrecy.
There are no windows on the lower floor, but there are on the upper floor - there is a huge difference between how you behave in life and your fantasies.
Closed shutters or curtains on the windows, windows with locks - you are closed and secretive. Often treat others with hostility.
Lack of curtains - you do not hide your feelings from others.
Open shutters or curtains on the windows - there is tension, distrust in communication. Sometimes you feel like you are not understood.
Wide open windows - straightforwardness, reaching in its extreme manifestation to swagger and rudeness.
Many windows - sociability, readiness for contacts.
Windows of an unusual shape - the desire to attract attention, the originality of the manner of communication.
A large number of optional details accompanying the drawing speaks of your desire to equip your environment (this applies not only to your home) to your liking. The closer the parts are to each other, and the more successfully they are combined with each other, the better you succeed. But if there are too many details, this indicates your insecurity, which you are trying to disguise, and a lack of attention to yourself.
A path, easily and proportionally drawn - when communicating with people, you show tact and restraint.
The path is very long - limited accessibility, the desire to keep others at a distance.
Bushes closely surrounding the house - you seek to protect, protect yourself from the aggression of the outside world.
Bushes scattered on both sides of the path - you are anxious, but you try to control this trait in yourself.
Smoke goes either to the right or to the left - a contradictory attitude towards the surrounding reality.
Smoke goes to the left - a pessimistic view of the future.
Smoke goes to the right - an optimistic view of the future.
The smoke is very thick - you are very tense. The thicker the smoke, the higher the degree of tension.
Smoke comes in a thin stream - a lack of emotional warmth at home.
The number of colors used. A harmoniously developed, not shy person, as a rule, paints his drawing with 2-5 colors.
If you used 7-8 colors in the drawing, you are very emotional and most likely inconsistent in your actions. If you used only 1 color (having others available), then you have an inherent fear of openly expressing your feelings.
Wood
Several trees - inattention, you do not follow the proposed instructions.
A dead tree is an experience of physical inferiority, feelings of guilt, emptiness.
Tree contour (keyhole) - hostility or unwillingness to perform the test.
The dimensions of the tree symbolize the real or desired position of a person in society.
A small tree is a feeling of inferiority, a desire to withdraw into oneself.
The tree is large, does not fit on a leaf - energy, activity, activity.
The tree is tilted to the left - attachment to the past and fear of the future. impulsive behavior. Emotions prevail over reason.
The tree is tilted to the right - fear of openly expressing emotions. Reason prevails over feelings.
Apple tree - dependence on parents. She is often depicted as pregnant women and women who want children.
The trunk is a person's understanding of his capabilities.
A trunk wide at the base, sharply tapering towards the top - the immaturity of the personality, increased emotionality.
The trunk tapers at the base - you are in a fight with something that is stronger than you.
Small trunk - the existing order of things in the world sometimes seems wrong and ridiculous to you.
A very large trunk is the desire to break out of the framework established by society. Aggression expressed in behavior, speech or thoughts.
A large trunk with small foliage - what is important to you is not available to you now. It disturbs your mental balance.
The thin contour of the trunk is indecision.
The trunk is broken, the top touches the ground - you are now led by some external forces that you are not able to control.
A graceful trunk with a very large crown - an excessive desire for pleasure.
The bark is slightly drawn - balance in relations with others.
The bark is drawn very carefully - a strong concern for relationships with others.
Damage on a tree is a traumatic experience in the past.
The tree occupies only the lower quarter of the leaf - dependence, lack of faith in oneself, dreams of power.
The tree occupies the lower half of the leaf - dependence on others at some points, timidity.
The tree occupies 3/4 of the leaf - good adaptability to the environment.
The tree occupies the entire leaf - the desire for self-affirmation and popularity.
The crown occupies 1/8 of the sheet - lack of self-control.
1/4 sheet - the ability to draw conclusions from past experience and not repeat your mistakes.
3/8 sheet - you are able to control yourself and know exactly what you want.
1/2 sheet - you absorb information like a sponge. If in real life something does not stick, you plunge into dreams.
5/8 sheet - a rich spiritual life.
6/8 sheet - you attach great importance to your intellectual and spiritual development.
7/8 sheet - almost the entire page is occupied by foliage - you often seek salvation from real world in dreams.
A sharp peak is an attempt to protect oneself from dangers (often imaginary), difficulties in contacts, a need for tenderness.
Branches - their size, number, degree of flexibility and interlacing reflect a person's adaptability to life and the ability to enjoy it.
Completely asymmetrically located branches - inconstancy, frequent changes of opinion and mood.
Broken, tilted, inanimate branches - physical or mental trauma in the past.
The branches are drawn quite easily - your relationships with others are rather superficial.
The branches are shown as fine lines- unsociality, isolation.
Thickened branches that look like fingers or sticks are hostility.
Strong branches with dense foliage - the ability to easily find a common language with people.
Branches turned to the left (or clearer on the left side) - the desire for sensual pleasures.
Branches facing to the right (or clearer on the right side) - getting pleasure from mental work, avoiding sensual pleasures.
Branches in the form of needles (thorns) - masochistic inclinations.
Narrow and long branches - you are very sociable, so you are constantly expanding your social contacts.
The leaves are too large for branches - it is difficult for you to find your place in life, but you skillfully hide it.
Pronounced roots that go deep into the ground - you will never give up what you used to consider right.
Thin, threadlike roots - you disagree with facts if they contradict your opinion about them.
The contour of the earth in the form of a mountain is the need for support, care, maternal care.
An animal living in the hollow of a tree - there is a trait in your character that is difficult for you to control.
The sun, the rays of which fall on the tree, is the desire to dominate.
A cloud between a tree and the sun - your relationship with others does not suit you. You often worry about this.
Setting sun - you are temporarily depressed.
big sun- complicated relationship with someone significant to you.
Wind - sometimes you experience feelings that are difficult to describe and control.
Human
A person is drawn in profile - avoiding communication, isolation.
The disproportion of the right and left sides is imbalance.
A person consisting of sticks - it is a burden for you to communicate with other people.
A running person is a desire to run away from something or a desire for something.
Walking person - good adaptability, resourcefulness, activity.
The head is the realm of intelligence, decision-making, self-control, and imagination.
Big head - in your opinion, thinking has a very importance for a person.
A small head - in your opinion, making deliberate and balanced decisions is very boring. You are attracted to everything that gives you pleasure. Recognize the primacy of feelings over the mind.
Head turned back - unwillingness to make contact, alienation.
Much attention is paid to the image of the face - it is important for you to maintain good relations with others, you care about your appearance.
Some facial features are masculine, some are feminine. Your character is dominated by either masculine or feminine qualities.
Big eyes with long eyelashes - demonstrativeness, a desire to attract the attention of others.
Eyes closed, hidden under dark glasses or a visor - the desire not to see what gives unpleasant sensations.
Empty eye sockets - detachment from the unpleasant aspects of life.
The nose is strongly emphasized - an increased interest in the topic of sex.
Large mouth, full lips - sensuality.
Large and / or sharp teeth - you are often sharp and rude to others.
The chin is strongly highlighted - you need to occupy a high position in society.
The chin is not clearly drawn - it is difficult for you to build relationships with other people.
Large ears - sensitivity to criticism. The need for information.
Small ears - rejection of criticism.
Beard, mustache - the desire to dominate.
The neck is the organ that connects the head (the sphere of control) with the body (the sphere of drives).
The neck is missing - you are often captured by bodily desires and it is difficult for you to control them.
Long and thin neck - deepening into oneself, interest in the topic of bodily desires is weakly expressed.
The torso is the focus of our basic needs and drives.
The torso is absent - the denial of bodily desires.
The torso is long and narrow - you do not show increased interest in the topic of bodily attraction.
The torso is too large - you have accumulated a significant amount of unmet, acutely aware needs.
The torso is too small - a denial of bodily desires or a feeling of humiliation, of one's own insignificance.
Shoulders are a sign of physical strength or a need for power.
Narrow shoulders - a feeling of low value, insignificance.
Broad shoulders - you have or want to have physical force and power over others.
Shoulders are unequal - the presence of internal conflict.
Shoulders too angular - excessive caution.
The shoulders are rounded - an expression of even, plastic, rather well balanced strength.
Excessive emphasis on the chest - emotional immaturity, dependence on the mother.
Muscles are very actively drawn - you pay too much attention to appearance. There may be a tendency to be selfish.
Hands are an instrument of struggle, control, changing the environment, as well as the best adaptation to it.
Hands protect hips - fear of manifestation of one's own sexuality.
Hands in pockets - closeness in communication, avoidance of personal topics in conversation.
Arms crossed on the chest - suspiciousness.
Hands behind the back - unwillingness to concede, to compromise. The tendency to control the manifestation of aggression.
Hands pressed to the body - sluggishness, lethargy, conservatism.
The arms are not merged with the body or extended to the sides across the back - sometimes actions are out of your control.
Wide arm span - you are energetic and action-oriented.
Wide arms at the palm or at the shoulder - impulsiveness, lack of control over the situation.
Thin hands - worries due to weakness and futility of efforts.
Too short arms - lack of specific aspirations.
Hands relaxed and flexible - good adaptability in relationships with others.
The arms are long and muscular - you lack physical strength, dexterity, courage.
Arms too long - excessive ambition.
The hands are too large - the need for more effective adaptation to the social environment.
Wing-like hands - deepening into oneself, weak contact with reality, daydreaming.
Lack of legs - stiffness.
Legs wide apart - neglect, insubordination, ignoring or insecurity.
Legs crossed - unwillingness to close contacts.
The legs are strongly shifted and tense - tension, insufficient looseness.
Legs different size- inconsistency. Striving for independence.
The legs are disproportionately long - the desire for independence, independence.
Legs too short - physical or psychological awkwardness.
Feet are a sign of mobility in interpersonal relationships.
The feet are too long - a need for security or a demonstration of masculinity.
Feet too small - stiffness, dependence.
Feet turned in different directions - strong conflicting feelings.
The fingers are large, pointed at the ends - hostility.
The deformation of any part of the body most often reflects similar deformations in humans.
Lines often break - anxiety, insecurity.
A person signs the drawing with his name - selfishness, narcissism, selfishness.
Mask - caution, secrecy, incredulity.
Tie - masculinity, emphasis on sexuality.
Pocket - dependence on others, in particular on the mother.
The weapon is aggression.
The contour of the earth is insecurity.
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