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House tree man observation method. How to get to know a child better using the “House, tree, person” technique

House tree man observation method. How to get to know a child better using the “House, tree, person” technique

29.04.2019

"House-tree-person" test (House-Tree-Person Test, H-T-R) is a projective technique for studying personality. Proposed by J. Book in 1948. The test is intended for examination of both adults and children, a group examination is possible.

The subject is asked to draw a house, a tree and a person. Then a detailed survey is conducted. The author substantiates the choice of objects for drawing by the fact that they are familiar to every subject, are most convenient as objects for drawing, and, finally, stimulate freer verbal expressions than other objects.

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

From the drawing, one can judge the affective sphere of the personality, its needs, the level of psychosexual development, etc. In addition to using the test as a projective technique, the author demonstrates the ability to determine the level of intellectual development (the rank correlation coefficient with intelligence tests is 0.41-0.75) . Foreign researchers declare the need for additional study of the validity of the methodology as a tool for measuring intelligence and personality traits. The test is used in Russia, included in the Kern-Jerasek method.

Procedure

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 instructions:

Instruction

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

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

Recording

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

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

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

The relationship of spontaneous utterances and/or expression of emotions with the details of the drawing is determined by the position of the spontaneous utterance and/or emotional manifestation in the recorded material. For example, if a spontaneous statement or emotion was written before a detail, but under one item, it means that it took place at the time when the subject began to draw this detail. If a comment or emotion was written under the same paragraph with a detail, but after it, then this happened later. If, apart from a spontaneous statement or emotion, nothing is written in the paragraph, then this happened after the previous detail was completed, and before the next one was started.

Post-drawing survey

After the non-verbal phase of the DDS is completed, the researcher should offer the subject the opportunity to characterize, describe and interpret the drawn objects and their surroundings, as well as express associations associated with them. He must also take into account the fact that the process of drawing a house, a tree, and a person often evokes strong emotional reactions, so that after completing the drawings, the subject is likely to verbalize what he has not been able to express until now. Clearly, if the subject is less withdrawn and hostile and more intelligent, the second phase of the DD can be more productive.

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

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

Post Drawing Survey Form

Ch1. Is it a man or woman (boy or girl)?
Ch2. How old is he/she?
Ch3. Who is he?
Ch4. Is it your relative, friend or someone else?
Ch5. What were you thinking about when you drew?
CH6. What is he doing? (Where is he at this time?)
Ch7. What is he thinking about?
CH8. What does he feel?
CH9. What does the drawn person make you think?
Ch10. Who does this person remind you of?
Ch11. Is this person healthy?
Ch12. What exactly in the picture makes such an impression on you?
Ch13. Is this person happy?
Ch14. What exactly in the picture makes such an impression on you?
CH15. What do you feel about this person?
CH16. Do you think this is typical for most people? Why?
CH17. What do you think the weather is like in the picture?
CH18. Who does this person remind you of? Why
CH19. What does a person want the most? Why?
Ch20. How is this person dressed?
Dr1. What is this tree?
Dr2. Where is this tree actually located?
Dr3. What is the approximate age of this tree?
Dr4. Is this tree alive?
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?
8 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?

At the end of the post-drawing survey, the researcher will have to find out the possible significance that the presence of unusual, the absence of “obligatory” details in the drawings, any unusual proportional, spatial or positional relationships between the drawn objects or their fragments may have for the subject.

For example, the researcher should ask the subject about the meaning of such unusual details in the drawing of a house as broken glass, a leaky roof, a collapsed chimney, etc., scars, broken or dead branches, shadows, etc. - in a drawing of a tree. It is generally accepted, for example, that scars on a tree trunk, broken or damaged branches, almost invariably symbolize "mental wounds" - a consequence of psychological trauma suffered by the subject in the past; the time when the traumatic episode (episodes) occurred can be determined by the location of the scar on the trunk, taking the base of the trunk (its part closest to the ground) for the period of early childhood, the top of the tree - for the present age of the subject, and the distances between them - for intermediate years. For example, if a 30-year-old subject drew a scar about one third of the trunk from its base, then the traumatic episode could presumably occur at 9-11 years of age. The researcher may ask, "What unusual thing happened to you when you were about 10 years old?" It is assumed that the subject can reflect in the picture only those events that he himself regards as traumatic, although from an objective point of view, completely different situations may turn out to be traumatic. It is believed that the image of the shadow in the figure is of great importance and can be: 1) a symbol of the feeling of anxiety experienced by the subject at the conscious level; 2) the presence of a factor that, by its constant presence in the psychological present or in the recent past, probably interferes with normal intellectual performance. We are talking about the conscious level, because usually the shadows are depicted on the ground, which symbolizes reality. The deterioration of intellectual performance is confirmed by absent-mindedness; the shadow implies the subject's awareness of the existence of another element - the sun, which is usually forgotten to draw, this, in turn, has a certain qualitative value.

The researcher needs to pay attention to which surface the shadow falls on: water, earth, snow or ice...

In addition, he must find out the possible significance of scars or mutilations in a drawing of a person. The researcher should try to get from the subject an explanation for the absence of ordinary details - windows, doors or a chimney in the drawing of the house; branches in the drawing of a tree; eyes, ears, mouth, feet, etc. in a drawing of a person - in the event that the assumption of mental retardation 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 may be advisable for the researcher to mark with circles the number of any question, the answer to which, as it seems to him, requires further clarification in a subsequent conversation. It was found that sometimes it is very useful to let the subject express his associations regarding the content of the drawings and the PRO.

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

Group testing

Ceteris paribus, the DDS method is more productive in individual testing than in group testing. However, it is obvious that this method has a certain position among group tests. As such, it is best used as a screening test to identify within a group of subjects who deviate from the average level of personal development and adaptability. In addition, the technique can be used to determine the degree of recovery in the process of group therapy, but from this side it has not yet been sufficiently studied.

Instructions

Before starting the task, the researcher should ask the subjects to draw the best possible house, tree and person in the listed order and tell them that they can erase my drawing as much as they want, without fear of penalties, that they can spend as much time as they need, and that each one, as soon as he finishes this or that drawing, must report it to the researcher, so that he can record the amount of time spent.

In some cases, it may be necessary to impose a certain time limit (preferably at least 30 minutes), in which case the subjects should be fully informed of this before they begin to draw.

The researcher must show the subjects a drawing form and show them each page to complete the corresponding drawing. After that, they can start the task.

Recording

The researcher should record the time used by each subject to complete a particular drawing. While the subjects are busy drawing, the researcher should walk about unobtrusively, observing them, and record instances of emotional manifestations, unusual sequences of details, etc., whenever he notices anything of the kind. Obviously, the observation will not be as complete as with individual examinations.

Post-drawing survey

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

Interpretation of results

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.

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

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

Shutters closed - subject is able to adjust in interpersonal relationships.

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

Walls

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

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

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

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

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

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

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

Wall: 1D perspective - only one side 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 absence of windows on the ground floor - hostility, alienation.

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

Roof

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

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

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

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

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

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

Room

Associations may arise in connection with:

the person who lives in the room
interpersonal relationships in the room,
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 a strong desire to protect themselves with protective barriers.

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

The path, well proportioned, easily drawn, shows that the individual, in 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 should be hidden from prying eyes.

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

Color selection

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

Color black - shyness, fearfulness.

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

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power.

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

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

Hatching that goes beyond the pattern is a tendency to an impulsive response to additional stimulation.

The color yellow is a strong sign of hostility.

General form

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

a) the right side is the future, the left side is the past,
b) related to the purpose of the room or its permanent occupant,
c) indicating the specifics of experiences: the left side is emotional, the right side is intellectual.

perspective

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

Perspective, the drawing is depicted in the distance - the desire to move away from conventional society.

Feelings of isolation, rejection. A clear tendency to separate from the environment. The desire to reject, not to recognize this drawing or what it symbolizes. Perspective, signs of "losing perspective" (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 pattern above the center of the sheet - the larger the pattern above the center, the more likely it is that:

the subject feels the severity of the struggle and the relative unattainability of the goal;
the subject prefers to seek satisfaction in fantasies (internal tension);
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:

the subject feels unsafe and uncomfortable, and this creates a depressive mood in him;
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 intellect (control). Realm of 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. Occurs in those who are especially sensitive to criticism.

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

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

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

Eyes bulging - rudeness, callousness.

Small eyes - self-absorption.

Lined eyes - rudeness, callousness.

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

Full lips on the face of a man - femininity.

Clown's mouth - forced friendliness, inadequate feelings.

A sunken 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. Large hands and feet in a man - rudeness, callousness. Tapered arms and legs - femininity. Long arms - the desire to achieve something, to take possession of something.

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

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

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

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

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

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. There are no legs - timidity, isolation. The legs are accentuated - rudeness, callousness.

Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.

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

Feet disproportionately small - stiffness, dependence.

Pose

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

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

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

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

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

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

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

A person in a smooth light step - good adaptability.

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

The profile is ambivalent - certain parts of the body are depicted on the other side in relation to the rest, looking in different directions - especially strong frustration with the desire to get rid of an unpleasant situation.

Unbalanced standing figure - tension.

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

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

Figure of sticks - can mean evasion and negativism.

The figure of Baba Yaga is 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.

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

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.

Erasure with subsequent damage (deterioration) of the drawing - the presence of a strong emotional reaction to the object being drawn or to what it symbolizes for the subject.

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, as is known, now or in the recent past was characterized by an average or higher intelligence, more often shows intellectual degradation or a 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.

TREE

The interpretation according to K. Koch comes from the provisions of K. Jung (a tree is a symbol of a standing person).

The roots are the collective, the unconscious.

Trunk - impulses, instincts, primitive stages.

Branches - passivity or opposition to life.

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

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

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

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

Roots

The roots are smaller than the trunk - 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. 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 - protecting your inner world in a childish way.

Closed dense foliage - hidden aggressiveness. Foliage details that are not related to the whole - insignificant details are taken 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.

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

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

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

Foliage with thin lines - thin sensitivity, suggestibility.

Trunk lines with pressure - determination, activity, productivity.

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

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 lower 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 - foliage almost full page - flight into dreams.

Image manner

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

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.

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

Characteristics of the psychological technique "House, tree, person

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

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

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

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

Proper conduct of the projective drawing test

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

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

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

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

Processing and interpretation of the results of the child

Scoring and analysis

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

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

Maximum possible points:

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

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

Interpretation of drawing features

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

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

Interpretation of the key objects of the drawing

House

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

Tree

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

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

Human

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

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

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

Test "House-Tree-Man"

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

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

R. Berne, when using the DPD test, asks to depict a tree, a house and a person in one drawing, in one ongoing scene. It is believed that the interaction between the house, the tree and the person is a visual metaphor. If you put the whole drawing into action, then it is quite possible to notice what is really happening in our lives.

Home - interpretation of signs

General

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