The test proposed below is very often used in diagnosing a child's readiness for school, "school maturity".
We know that a child's drawing can tell a lot because reflects the state of mind of the child, the content of his inner peace relationships with loved ones. Even a non-professional can see the "positive" and "negative" elements of children's creations. True, when it comes to interpretation, you should always remember, dear parents, that the correct and complete interpretation of a drawing (both for children and adults) is, of course, the work of only a professional.
However, from the fact that we will use some knowledge, consider the picture of the child carefully and try to understand what worries your baby, there will be no harm.
Today I propose to use one of the most famous personality research methods proposed by J. Book back in 1948. The test is called "House. Tree. Man".
Since it is believed that the concepts of "house", "tree", "man" do not carry any explicit emotional meaning, then everything that the child expresses in these drawings, and everything that he ascribes to these objects, is his own emotional reactions expressed in explicit or symbolic form. Each of these objects must be considered as a self-portrait, since the child endows it with certain features that are important to him.
The methodology consists of two stages: at the first stage, the child creates drawings; at the second stage, a conversation is held when the child describes and explains what he has drawn.
brother to the child with the following words: "Draw the house as best as you can."
As soon as he starts drawing, keep track of the time to know how much the child spent on the drawing. As usual, the use of additional devices is not provided. After the child has finished drawing the drawing, ask him to draw a tree and then a person.
while the child is working on the drawing, you should observe him and take notes regarding the time spent, pauses in the drawing (during which detail it occurred, how long it lasted), deviations from the normal sequence of the image of the elements of the house, tree and person made child's comments and expressed emotions.
After all the drawings are finished, move on to the conversation. The following is a list of questions to help you clear up any ambiguities and get important information about your child.
How many floors does this house have?
Is this house brick, wooden or something else?
Is this your house? (If not, whose is it?)
When you were drawing this house, did you think who is the owner?
Would you like this house to be yours? Why?
If this house were yours:
Which room would you choose for yourself? Why?
With whom would you like to live in this house? Why?
Is this house somewhere far or close?
What do you think about when you look at this house?
What does he remind you of?
Is this house welcoming, friendly?
Is it similar to other houses or different in some way?
What is the weather like in this picture?
What is missing in this house?
Where does the path lead from the house?
If there was a person nearby, who would it be?
What is this tree?
Where is this tree actually located?
What is the approximate age of this tree?
Is this tree alive?
If the child says that the tree is alive:
What exactly in the picture confirms that the tree is alive?
Does the tree have some dead part? If there is, which one?
If the child thinks the tree is dead:
Why do you think the tree died?
When do you think it happened?
Who do you think this tree looks more like: a man or a woman?
What exactly in the picture confirms this?
Is this tree lonely or are there others nearby?
What do you think the weather is like in this picture?
Is there wind in the picture?
Show me which way the wind is blowing.
Tell me in more detail what kind of wind is it, what is it?
What does this tree make you think of?
What does it remind you of?
Is this tree healthy?
Is this tree strong?
If you were to draw a sun, where would you place it?
Who does this tree remind you of? Why?
What does this tree need the most? Why?
Is it a man or woman (boy or girl)?
How old is he/she?
Is it your relative, friend or someone else?
What were you thinking about when you drew?
What is he doing? (Where is he at this time?)
What is he thinking about?
What does he feel?
What thoughts come to your mind as you look at it?
Who does this person remind you of?
Is this person healthy?
Why do you think so?
Is this person happy?
Why do you think so?
What do you feel about this person?
What is the weather like in the picture?
Who does this person remind you of? Why?
What does this person want the most? Why?
Interpretation
We repeat once again that each drawing should be considered as a self-portrait of a child. The analysis of the drawing is carried out in the following sequence: details, proportions, perspective, time, line quality, comments. Keep in mind that the same element can have a different value, it depends on the overall configuration, and also that it can have more than one value.
If a child, drawing this or that detail, accompanies it with comments, expresses some emotions at this time, this detail is probably of particular importance to him. The same conclusion can be drawn if he violates the natural order of depicting details (for example, starts the house with a chimney), erases some element of the drawing hard, returns to the drawing once or more, spends too much time on the depiction of the detail, or depicts it in an unusual manner, leaves a detail unfinished, omits a detail despite being mandatory, refuses to talk about that detail.
Interpretation begins with such an indicator as the number of details. First of all, you should make sure that the required details are available.
The house must have at least one door (the exception is when only a side wall is drawn), one window, one wall, a roof, and a chimney or other means of escaping smoke from a stove or something that can be used to heat the house.
Tree must have a trunk and at least one branch (unless the child has drawn a stump instead of a tree, which is regarded as a very alarming sign).
Human must have a head, a body, two legs, two arms, and two eyes, a nose, a mouth, and two ears.
the absence of any of the mandatory details listed above may indicate a violation. The presence of additional details (bushes, flowers, path) can be interpreted as a desire to fill and organize the surrounding space, which may be associated with a lack of a sense of security, anxiety, insecurity.
Other red flags include a missing baseline, broken windows, a door that is smaller than a window, a non-rectangular window (unless it is an attic window), a see-through roof or wall through which objects inside the home can be seen.
dilapidated, an old house, unstable construction convey the critical attitude of the child to himself. If the house consists of several different buildings, this may express a feeling of hostility towards one of the people close to him.
Roof marked horizontal line, connecting the walls, may indicate inhibition of thinking, lack of emotions, acute experiences. A high, large roof, as well as an emphasis on it, probably indicate that the child is prone to fantasies.
The pipe symbolizes the warmth of relationships, so its absence may indicate a lack of warmth, care, guardianship, or the presence of a conflict in relationships with a loved one. If a lot of smoke comes out of the pipe, something is probably bothering the child, there is internal tension.
it is obvious that door implies the possibility of access or retreat; the front door can represent both an entrance and an exit, that is, it symbolizes accessibility, and the back and / or side door usually represents an exit, an escape from reality. If there is no door, the child is unavailable, closed, does not want to contact others. Opened door expresses the child's need for warm, close relationships, his openness, straightforwardness, sociability. A very large door can mean that the child is hard to endure loneliness, requires attention, loves to be the center of attention. A door that is too small indicates opposite tendencies: extreme isolation, denial of any contact, unwillingness to let others in.
If a lock is drawn on the door, this can be interpreted as secrecy, perhaps even hostility, the need for protection. The need for protection is also indicated by the presence of a fence near the house.
A window is an image of visual contact. A closed, self-absorbed child may show his hostility by drawing windows without frames, not drawing windows at all, or not drawing them on the ground floor; draws windows, but complements them with shutters, shading, curtains, curtains, etc. If the windows are drawn high from the ground, this may indicate a certain separation of the child from life's realities and a preference for imaginary worlds. The child who painted the windows last expresses a desire for solitude, unwillingness to contact others. Open windows may indicate straightforwardness, a sense of confidence, some pride.
A large, very large tree can serve as an expression of an aggressive attitude. If the drawing consists mainly of weak, thin lines, this indicates uncertainty, indecision, and poor fitness. If the shape of the tree resembles a keyhole, with a crown in the form of a circle or oval, this may mean strong hostile impulses. Scars on the body of a tree, broken, drooping or dead branches, apparently symbolize mental trauma. If a child graphically or verbally indicates that the tree is dead, this is regarded as a sign of a feeling of inferiority, unfitness, failure, uselessness, guilt, etc. Most often, branches or roots are called dead or partially dead. In this case, damaged branches are interpreted as a symbol of traumatic impact. environment, and a dead root system implies intrapersonal disharmony.
It is assumed that the tree symbolizes how the child feels in the reality around him. Because the outside forces, affecting the tree, are mainly meteorological, then through the description of weather conditions the child can express his impression of how he perceives relations from others: whether the surrounding reality is generally supportive and friendly or oppressive and hostile.
Human
a person depicted from the front should have a head, a body, two legs, two arms, as well as two eyes, a nose, a mouth and two ears. A child can vividly express his feelings of helplessness by drawing a self-portrait without hands and feet. Divorced hands are an expression of the desire for action. If the arms are crossed on the chest, this is evidence of isolation, suspiciousness, withdrawal into oneself. Long arms - the presence of some aspirations, ambitions. Short hands, on the contrary, express the absence of aspirations aimed at the outside world. Disproportionately long legs- desire for independence. Short legs express a feeling of helplessness.
The eyes, nose, mouth, and ears are receptors for external stimuli that may be unpleasant (for example, hearing accusations, criticism), and may lead to conflict or problem. A drawing of a person with only eyes indicates suspicion and excessive caution, the absence of a nose, ears and mouth also indicates a lack of desire to communicate.
dear parents, you should also pay attention to the consistency in drawing a house, a tree, a person; the proportions of the details in the picture (maybe something seems too big or, conversely, too small); perspective (what and where is drawn); the time that the child spends on drawing the elements of the picture; line quality (thick, weak lines); comments - oral or written - names of people, names of streets, trees, etc. Be careful and keep records.
Unfortunately, the size of the issue does not allow us to describe in detail the features of the interpretation of the figure. However, Dear friends, if you wish, you can easily find detailed description interpretations different aspects drawings on the web pages.
Let me remind you once again that only a specialist can give a full interpretation of the drawing, so do not rush to conclusions! Draw with pleasure!
In the preparation, materials from the book by Katherine Taylor were used. "Psychological tests and exercises for children. A book for parents and educators" Ed.: April-Press, Izd. Institute of Psychotherapy, 2005, 224 pages.
Purpose: Identification of personality traits
Test "HOUSE. TREE. 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”, “person” 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 more or less significant to him.
To perform the DDD test, the child being examined 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 the symbolic meaning of details is 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 the perspective shows more complex relationship person to his psychological environment. When assessing 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 an active creative attitude child to your life.
To quantify 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. Disproportionately long arms 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. Disproportionate big system branches 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 | |
|
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 the 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 psychologically informative other visual activity of the child, 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 build a conversation in such a way that any characteristic does not become a suggestive cliché that can negatively influence the formation of the future character of a teenager. Avoiding an explicit assessment of the identified psychological characteristics, it is possible to outline possible ways self-education of the child. At this last stage, 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 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 mental retardation. 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 can 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 features 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.
This projective technique personality research was proposed by J. Book in 1948. The drawing test is intended for both adults and children, group examination and testing is possible.
(see psychology of children's drawing)
The essence of the technique of the drawing test is as follows:
The subject is asked to draw house, tree and person. Then a survey is conducted according to the developed plan.
It is believed that the interaction between the house, the tree and the person is a visual metaphor. If you put the whole drawing into action, then it is quite possible to notice what is really happening in our lives.
A special way of interpretation may be the order in which the drawing of the house, the tree, and the person is done.
If drawn first tree, which means that the main thing for a person is Vital energy.
If drawn first house, then in the first place - security, success or, conversely, the neglect of these concepts.
Interpretation of signs in the test “Dom. Tree. Human"
"HOUSE" in the psychological drawing test ^
The house is old, collapsed - sometimes the subject can express his attitude towards himself in this way.Home away - a feeling of rejection (rejection).
Home close - openness, accessibility and (or) a sense of warmth and hospitality.
The plan of the house (projection from above) instead of the house itself is a serious conflict.
"WALLS" ^
The back wall, located unusually - conscious attempts at self-control, adaptation to conventions, but at the same time, there are strong hostile tendencies.
The contour of the back wall is much brighter (thicker) compared to other details - the subject seeks to maintain (not lose) contact with reality.
The wall, the absence of its base is a weak contact with reality (if the drawing is placed below).
A wall with an accentuated contour of the base - the subject is trying to displace conflict tendencies, experiencing difficulties, anxiety.
A wall with an accentuated horizontal dimension is a poor orientation in time (the dominance of the past or the future). It is possible that the subject is sensitive to environmental pressure.
Wall: the side contour is too thin and inadequate - a premonition (threat) of disaster.
Wall: the contours of the line are too accentuated - a conscious desire to maintain control.
Wall: one-dimensional - only one side is shown. If it is a side wall, there are serious tendencies towards alienation and opposition.
Transparent walls - unconscious attraction, the need to influence (own, organize) the situation as much as possible.
A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.
"DOORS" ^
Their absence - the subject has difficulty in trying to open up to others (especially in the home circle).
Doors (one or more), rear or side - retreat, detachment, avoidance.
The doors are open - the first sign of frankness, reachability.
The doors are open. If the house is residential - this is a strong need for warmth from the outside or the desire to demonstrate accessibility (frankness).
Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.
The doors are very large - excessive dependence on others or the desire to surprise with your social sociability.
The doors are very small - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecisiveness in social situations.
Doors with a huge lock - hostility, suspiciousness, secrecy, protective tendencies.
"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.
"WINDOWS" ^
The first floor is drawn at the end - disgust for interpersonal relationships. Tendency to isolate from reality.
The windows are very open - the subject behaves somewhat cheekily and straightforwardly. A lot of windows show a readiness for contacts, and the absence of curtains shows a lack of desire to hide their feelings.
The windows are closed (curtained). Preoccupation with interaction with the environment (if it is significant for the subject).
Windows without glass - hostility, alienation. The lack of windows on the first floor - hostility, alienation.
There are no windows on the lower floor, but there are on the upper floor - the gap between real life and living in fantasy.
"ROOF" ^
The roof is a realm of fantasy. The roof and the chimney, torn off by the wind, symbolically express the feelings of the subject, that they are commanded, regardless of own strength will.
Roof, thick outline, uncharacteristic of the drawing - fixation on fantasies as a source of pleasure, usually accompanied by anxiety.
The roof, the thin contour of the edge - the experience of weakening the control of fantasy.
Roof, thick outline of the edge - excessive concern for control over fantasy (curbing it).
A roof that is poorly combined with the lower floor is a bad personal organization.
The roof cornice, its accentuation with a bright contour or extension beyond the walls, is a heavily protective (usually suspicious) installation.
"ROOM" ^
Associations may arise in connection with:
1) the person living in the room,
2) interpersonal relationships in the room,
3) the purpose of this room (real or attributed to it).
Associations can have a positive or negative emotional connotation.
Room that did not fit on the sheet - the unwillingness of the subject to depict certain rooms due to unpleasant associations with them or with their tenant.
Subject selects nearest room - suspiciousness.
Bath - performs a sanitary function. If the manner in which the bathtub is depicted is significant, these functions may be impaired.
"PIPE" ^
Lack of a pipe - the subject feels a lack of psychological warmth at home.
The pipe is almost invisible (hidden) - unwillingness to deal with emotional influences.
The pipe is drawn obliquely with respect to the roof - the norm for a child; significant regression if found in adults.
Drainpipes - enhanced protection and usually suspiciousness.
Water pipes (or drain pipes from the roof) are reinforced protective installations (and usually increased suspiciousness).
"ADDITIONS" ^
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 slight anxiety within reality and a conscious desire to control it.
The path, well proportioned, easily drawn, shows that the individual, in contacts with others, exhibits tact and self-control.
The path is very long - reduced availability, often accompanied by a need for more adequate socialization.
The path is very wide at the beginning and narrows a lot at 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; its usual use: green - for the roof; brown - for walls;
yellow, if used only to depict the light inside the house, thereby displaying the night or its approach, expresses the feelings of the subject, namely:
1) the environment is hostile to him,
2) his actions must be hidden from prying eyes.
Number of Colors Used: A well-adapted, shy, and emotionally insecure subject will typically use no fewer than two and no more than five colors.
A subject who paints a house with seven or eight colors is, at best, very labile.
Using only one color is afraid of emotional excitement.
"COLOR SELECTION" ^
The longer, more uncertain, and harder the subject selects colors, the greater the likelihood of personality disorders.
Perspective "above the subject" (looking from the bottom up) - the feeling that the subject is rejected, removed, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.
Perspective, the drawing is depicted in the distance - the desire to move away from conventional society. Feelings of isolation, rejection. A clear tendency to separate from the environment. The desire to reject, not to recognize this drawing or what it symbolizes.
Perspective, signs of “losing perspective” (an individual correctly draws one end of the house, but draws a vertical line of the roof and walls in the other - he does not know how to depict depth) - signals the beginning difficulties of integration, fear of the future (if the vertical side line is on the right) or desire forget the past (line on the left).
Triple perspective (three-dimensional, the subject draws at least four separate walls, on which there are not even two in the same plan) - excessive concern with the opinions of others about themselves. The desire to keep in mind (to know) all connections, even insignificant ones, all features.
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 for the sake of maintaining mental balance.
Placing the pattern below the center of the sheet - the lower the pattern is in relation to the center of the sheet, the more likely it is that:
1) the subject feels unsafe and uncomfortable, and this creates a depressive mood in him;
2) the subject feels limited, constrained by reality.
Placing a picture on the left side of the sheet is an emphasis on the past.
Placing a picture in the upper left corner of the sheet is a tendency to avoid new experiences. Desire to go into the past or delve into fantasies.
Placing a picture on the right half of the sheet - the subject is inclined to seek pleasure in the intellectual spheres. controlled behavior. Emphasis on the future.
The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free, frank emotional experiences.
Going beyond the right edge of the sheet is the desire to “escape” into the future in order to get rid of the past. Fear of open free experiences. The desire to maintain tight control over the situation.
Going beyond the top edge of the sheet is fixation on thinking and fantasy as sources of pleasure that the subject does not experience in real life.
The contours are very straight - rigidity.
The contour is sketchy, used constantly - at best, pettiness, striving for accuracy, at worst - an indication of the inability to take a clear position.
No. Distinguished feature
1. Schematic representation
2. Detailed image
3. Metaphorical image
4. City house
5. Farmhouse
6. Borrowing from literary or fairy story
7. The presence of windows and their number
8. The presence of doors
9. Chimney with smoke
10. Shutters on the windows
11. Window size
12. The overall size of the house
13. The presence of a front garden
14. The presence of people near the house and in the house
15. Having a porch
16. The presence of curtains on the windows
17. Presence of plants (number)
18. Number of animals
19. The presence of a landscape image (clouds, sun, mountains, etc.)
20. The presence of shading on the intensity scale 1,2,3
21. Line thickness on intensity scale 1, 2, 3
22. Door open
23. Door closed
"Man" in the psychological drawing test ^
Sphere of intellect (control). Realm of imagination.
A big head is an unconscious underlining of the belief about the importance of thinking in human activity.
The head is small - the experience of intellectual inadequacy.
Fuzzy head - shyness, timidity. The head is depicted at the very end - interpersonal conflict.
A large head of a figure of the opposite sex is an imaginary superiority of the opposite sex and its higher social authority.
An organ symbolizing the connection between the sphere of control (the head) and the sphere of drives (the body). Thus, this is their coordinating feature.
The neck is emphasized - the need for protective intellectual control.
Excessively large neck - awareness of bodily impulses, an effort to control them.
Long thin neck - inhibition, regression.
Thick short neck - concessions to one's weaknesses and desires, an expression of an unrepressed impulse.
A sign of physical strength or a need for power.
Shoulders are overly large - a feeling of great strength or excessive concern for 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.
Symbolizes courage.
The body is angular or square - masculinity.
The torso is too large - the presence of unsatisfied needs, acutely realized by the subject.
The torso is abnormally small - a feeling of humiliation, low value.
Facial features include eyes, ears, mouth, nose. It is sensory contact with reality.
The face is underlined - a strong preoccupation with relationships with others, with one's appearance.
The chin is too emphasized - the need to dominate.
The chin is too large - compensation for perceived weakness and indecision.
Ears are too emphasized - auditory hallucinations are possible. Occurs in those who are especially sensitive to criticism.
Small ears - the desire not to accept any criticism, to drown it out.
Eyes closed or hidden under the brim of a hat - a strong desire to avoid unpleasant visual influences.
The eyes are depicted as empty eye sockets, a significant desire to avoid visual stimuli. Hostility.
Eyes bulging - rudeness, callousness.
Small eyes - self-absorption.
Lined eyes - rudeness, callousness.
Long eyelashes - coquettishness, a tendency to seduce, seduce, demonstrate oneself.
Full lips on the face of a man - femininity.
Clown's mouth - forced friendliness, inadequate feelings.
A hollow mouth is a passive significance.
The nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think in ironic social stereotypes.
Nostrils - primitive aggression.
The teeth are clearly drawn - aggressiveness.
The face is unclear, dull - fearfulness, shyness.
Facial expression obsequious - insecurity.
A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.
Eyebrows sparse, short ~– contempt, sophistication.
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.
Hands are tools for a more perfect and sensitive adaptation to the environment, mainly in interpersonal relationships.
Wide arms (arm span) - an intense desire for action.
Hands wider at the palm or at the shoulder - insufficient control of actions and impulsiveness.
Hands depicted not merged with the body, but separately, extended to the sides - the subject sometimes catches himself in actions or deeds that are out of his control.
Arms crossed on chest - hostile-suspicious attitude.
Hands behind your back - unwillingness to concede, to compromise (even with friends). The tendency to control the manifestation of aggressive, hostile drives.
The arms are long and muscular - the subject needs physical strength, dexterity, courage as compensation.
Arms too long - overly ambitious aspirations.
Hands relaxed and flexible - good adaptability in interpersonal relationships.
Hands tense and pressed to the body - sluggishness, rigidity.
The arms are very short - lack of aspirations along with a feeling of inadequacy.
Hands are too large - a strong need for better adaptability in social relations with a sense of inadequacy and a tendency to impulsive behavior.
Lack of hands - a feeling of inadequacy with high intelligence.
Deformation or accentuation of the arm or leg on the left side is a social and role conflict.
Hands are depicted close to the body - tension.
Large hands and feet in a man - rudeness, callousness.
Tapered arms and legs - femininity.
Long arms - the desire to achieve something, to take possession of something.
Hands are long and weak - dependence, indecision, the need for guardianship.
Hands turned to the sides, reaching for something - addiction, desire for love, affection.
Arms outstretched at sides - difficulty 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 the back or in 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 not loving, rejecting, not supporting.
Fingers are separated (chopped off) - repressed aggression, isolation.
Thumbs - rudeness, callousness, aggression.
More than five fingers - aggressiveness, ambition.
Fingers without palms - rudeness, callousness, aggression.
Less than five fingers - dependence, impotence.
Long fingers - hidden aggression.
Fingers clenched into fists - rebellion, protest.
Fists pressed to the body - a repressed protest.
Fists away from the body - an open protest.
Fingers are large, like nails (thorns) - hostility.
The fingers are one-dimensional, looped around - conscious efforts against aggressive feelings.
Legs disproportionately long - a strong need for independence and the desire for it.
The legs are too short - a feeling of physical or psychological awkwardness.
The drawing started with the feet and legs - timidity.
The feet are not depicted - isolation, timidity.
Legs wide apart - outright neglect (insubordination, ignoring or insecurity).
Legs of unequal sizes - ambivalence in the pursuit of independence.
No legs - timidity, isolation.
The legs are accentuated - rudeness, callousness.
Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.
Feet disproportionately long - the need for security. The need to demonstrate masculinity.
Feet disproportionately small - stiffness, dependence.
The face is depicted in such a way that the back of the head is visible - a tendency towards isolation.
Head in profile, body full face - anxiety caused by the social environment and the need for communication.
A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.
The person depicted as running is the desire to run away, hide from someone.
A person with visible violations of proportions in relation to the right and left sides - lack of personal balance.
A person without certain parts of the body indicates rejection, non-recognition of the person as a whole or his missing parts (actually or symbolically depicted).
A person is in a blind flight - panic fears are possible.
A person in a smooth light step - good adaptability.
Man - absolute profile - serious detachment, isolation and oppositional tendencies.
The profile is ambivalent - certain parts of the body are depicted on the other side in relation to the rest, they look in different directions - a particularly strong frustration with the desire to get rid of an unpleasant situation.
Unbalanced standing figure - tension.
Dolls - compliance, the experience of the dominance of the environment.
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, self-contempt.
Clouds - fearful anxiety, fears, depression.
Fence for support, contour of the earth - insecurity. The figure of a man in the wind is the need for love, affection, caring warmth.
The base line (earth) - insecurity. Represents the necessary reference point (support) for constructing the integrity of the picture, gives stability. The meaning of this line sometimes depends on the quality attached to it by the subject, for example, "a boy rides on thin ice". The base is often drawn under a house or a tree, less often under a person.
The weapon is aggression.
Line breaks, erased details, omissions, accentuation, shading - the sphere of conflict.
Buttons, belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.
Circuit. Pressure. Hatching. Arrangement Few curved lines, many sharp corners - aggressiveness, poor adaptation.
Rounded (rounded) lines - femininity. A combination of confident, bright and light contours - rudeness, callousness.
The contour is dim, unclear - timidity, timidity. Energetic, confident touches - perseverance, security.
Lines of unequal brightness - voltage.
Thin extended lines - tension.
The unbreakable, underlined contour framing the figure is isolation.
Sketchy outline - anxiety, timidity.
Breaking the contour is the sphere of conflicts.
Underlined line - anxiety, insecurity. sphere of conflict. Regression (especially in relation to the underlined detail).
Jagged, jagged lines - audacity, hostility.
Confident solid lines - ambition, zeal.
The bright line is rudeness.
Strong pressure - energy, perseverance. Great tension.
Light lines - lack of energy.
Light pressure - low energy resources, stiffness.
Lines with pressure - aggressiveness, perseverance.
Uneven, unequal pressure - impulsiveness, instability, anxiety, insecurity.
Changeable pressure - emotional instability, labile moods.
If a person is excitable, the strokes are shortened, if not, they are lengthened.
Direct strokes - stubbornness, perseverance, perseverance.
Short strokes - impulsive behavior.
Rhythmic shading - sensitivity, sympathy, looseness.
Short, sketchy strokes - anxiety, uncertainty.
The strokes are angular, constrained - tension, isolation.
Horizontal strokes - emphasizing the imagination, femininity, weakness.
Vague, varied, changeable touches - insecurity, lack of perseverance, perseverance.
Vertical strokes - stubbornness, perseverance, determination, hyperactivity.
Hatching from right to left - introversion, isolation.
Hatching from left to right - the presence of motivation.
Hatching from oneself - aggression, extraversion.
Erasures - anxiety, apprehension.
Frequent erasures - indecision, dissatisfaction with oneself.
Erasing on redraw (if the redraw is more perfect) is a good sign.
Erasure with subsequent damage (deterioration) of the drawing - the presence of a strong emotional reaction to the drawn object or to what it symbolizes for the subject.
Erasing without trying to redraw (i.e. correct) is an internal conflict or conflict with this detail itself (or with what it symbolizes).
Large drawing - expansiveness, a tendency to vanity, arrogance.
Small figures - anxiety, emotional dependence, feelings of discomfort and stiffness.
A very small figure with a thin contour - stiffness, a sense of low value and insignificance.
The drawing at the very edge of the sheet is dependence, self-doubt.
Drawing on the whole sheet is a compensatory exaltation of oneself in the imagination.
What is important here is their knowledge, the ability to operate with them and adapt to specific practical conditions of life. The researcher must notice the degree of the subject's interest in such things, the degree of realism with which he perceives them; the relative importance he attaches to them; the way these parts are connected together.
Significant details - the absence of significant details in the drawing of a subject who is known to be of average or higher intelligence now or in the recent past, more often indicates intellectual degradation or serious emotional disturbance.
An excess of details - the "inevitability of corporality" (the inability to limit oneself) indicates a forced need to improve the whole situation, an excessive concern for the environment.
The nature of the details (essential, non-essential or bizarre) may serve to more accurately determine the specificity of susceptibility.
Excessive duplication of details - the subject, most likely, does not know how to enter into tactful and plastic contacts with people.
Insufficient detail - tendencies to isolation.
Particularly scrupulous detailing - stiffness, pedantry.
Ability to critical appraisal drawing when asked to criticize it - the criteria for unlost contact with reality.
Acceptance of the task with minimal protest is a good start, followed by fatigue and interruption in drawing.
Apologizing because of the drawing is a lack of confidence.
In the course of drawing, the pace and productivity decrease - rapid exhaustion.
The name of the drawing is extraversion, need and support. Pettiness.
The left half of the figure is underlined - identification with the female gender.
Persistently draws, despite the difficulties - a good forecast, vigor.
Resistance, refusal to draw - hiding problems, unwillingness to reveal oneself.
"Tree" in the psychological drawing test ^
The interpretation according to K. Koch comes from the provisions of K. Jung (a tree is a symbol of a standing person).
Roots are the collective 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.
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.
The roots are smaller than the trunk - craving for hidden, closed.
The roots are equal to the trunk - a stronger curiosity, already presenting a problem.
Roots larger than the trunk - intense curiosity, can cause anxiety.
The roots are marked with a line - childish behavior about what is kept secret.
Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.
Symmetry is the desire to appear in harmony with the outside world. A marked tendency to restrain aggressiveness. Hesitation in choosing a position in relation to feelings, ambivalence, moral problems.
The arrangement on the sheet is dual - the attitude to the past, to what the drawing depicts, i.e. to your action. Double desire: independence and protection within the environment.
The central position is the desire to find agreement, balance with others. Indicates the need for a rigid and rigorous systematization based on habits.
Arrangement from left to right - the focus on the outside world, on the future increases. The need to rely on authority; seeking agreement with the outside world; ambition, the desire to impose oneself on others, a feeling of abandonment; possible fluctuations in behavior.
Round crown - exaltation, emotionality.
Circles in the foliage - the search for soothing and rewarding sensations, feelings of abandonment and disappointment.
The branches are omitted - loss of courage, abandonment of efforts.
Branches up - enthusiasm, impulse, desire for power.
Branches in different directions - the search for self-affirmation, contacts, self-spraying. Fussiness, sensitivity to the environment, lack of opposition to it.
Foliage-net, more or less dense - more or less dexterity in avoiding problem situations.
Foliage of curved lines - susceptibility, open acceptance of the environment.
Open and closed foliage in one picture - the search for objectivity.
Closed foliage - protecting your inner world in a childish way.
Closed dense foliage - hidden aggressiveness.
The branches come out of one area on the trunk - children's search for protection, the norm for a child of seven years.
The branches are drawn in one line - an escape from the troubles of reality, its transformation and embellishment.
Thick branches are a good distinction of reality.
Loop leaves - prefers to use charm.
Palm tree - the desire to change places.
Foliage-mesh - avoiding unpleasant sensations.
Foliage as a pattern - femininity, friendliness, charm.
Weeping willow - lack of energy, the desire for a solid support and the search for positive contacts; return to the past and childhood experience; difficulties in making decisions.
Blackening, shading - tension, anxiety.
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 with thick ones - it can assert itself and act freely.
Foliage in thin lines - subtle sensitivity, suggestibility.
Trunk lines with pressure - determination, activity, productivity.
Trunk lines are straight - dexterity, resourcefulness, does not linger on disturbing facts.
The trunk lines are crooked - activity is inhibited by anxiety and thoughts about insurmountable obstacles.
"Vermicelli" - a tendency to stealth for the sake of abuse, unforeseen attacks, hidden rage.
The branches are not connected with the trunk - a departure from reality that does not correspond to desires, an attempt to "escape" into dreams and games.
The trunk is open and connected with foliage - high intelligence, normal development, the desire to preserve inner peace.
The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.
The trunk is limited from below - a feeling of unhappiness, a search for support.
The trunk expands downward - the search for a reliable position in its circle.
The trunk tapers downward - a sense of security in a circle that does not give the desired support; isolation and the desire to strengthen one's "I" against a restless world.
The overall height - the bottom quarter of the sheet - dependence, lack of faith in oneself, compensatory dreams of power.
The lower half of the leaf is less dependent and timid.
Three-quarters of a leaf is a good adaptation to the environment.
The sheet is used in its entirety - it wants to be noticed, to count on others, to assert itself.
Sharp peak - defends itself from danger, real or imaginary, perceived as a personal attack; desire to act on others, attack or defend, difficulty in contacts; wants to compensate for the feeling of inferiority, the desire for power; seeking a safe haven due to feelings of abandonment to a solid position, need for tenderness.
The multiplicity of trees (several trees on one leaf) is childish behavior, the subject does not follow this instruction.
Two trees - can symbolize oneself and another loved one(see 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.
The earth is depicted with one line - focus on the goal, the adoption of a certain order.
The earth is depicted in several different ways - acting according to its own rules, the need for an ideal.
Several joint lines depicting the earth and touching the edge of the sheet - spontaneous contact, sudden removal, impulsiveness, capriciousness.
Instructions for the drawing test "House"
Please draw a house (it should not be an apartment building, it should not be a specific house that belongs to you or your friends).
Material for testing requires a sheet of A4 paper, as well as a pencil. The sheet of paper should be white, not glossy, without any rulers or cells. Use a pencil of medium softness; Do not draw with a pen or felt-tip pens.
Questions for the drawing
- Where is this house located?
- How many rooms are in the house?
- Who lives in it?
- Where is this house?
- What is the most comfortable place in it, why?
- Which place is the least comfortable, why?
When we look at windows, we associate with the eyes. If we remember children's drawings, young children have anthropomorphic houses (the roof is like hair, the windows are like eyes, etc.). According to Freud, if we see in a dream that we are looking for a house or walking inside a building, this is interpreted as that we are looking for ourselves or something inside ourselves. He clearly identifies a person and a house.
“My house is my fortress!”, - the roof of the inside of the house leaks in not quite healthy people. This is a natural self-identification.
doors
Door - communication. Therefore, if the door is located in front, then, as a rule, this person is quite sociable and sociable. But there are subtleties, for example, the door is in front, but a very high porch leads to it. This is typical for people who are selectively sociable, with such a tendency to select and check their acquaintances (“I have a narrow circle of friends and they are all proven and reliable for a long time”). A narrow porch is what a person makes people who want to get close to him go through some kind of test. Applicant for friendship, moving from step to step, passes the exam. Then - a well-designed, detailed painted porch (maybe as a separate house). If a person has alarming settings in contacts, he also draws a path. And if it is even stronger - it draws a path to the house. In addition, how the door is drawn: it can be drawn anxiously or blackened out, there may be a darkened handle or a peephole.
If the door is in front - it is better for communication, if on the side - some half-heartedness, he does not completely want to communicate, and if there is no door at all ("and the door is there, on the back facade"), then it's all the same that a person is standing with his back to us, isolation, unwillingness to make contact.
The door may be disproportionately small or so drawn that it is impossible to enter it.
Drawing tests, since they are projective, they can be deeper
If the road leads past the house, this is a low interest to come to you. In general, the road is a social desirability. You need to show that the person is sociable.
When there are high windows and a high foundation and a high porch, there is a feeling of a certain fortress.
The door as a lattice is also an additional protection.
Window
On the one hand, we are shown something like eyes. On the other hand, they talk about the degree of interest in information about the outside world. Therefore, not very inquisitive people draw high windows. And large windows are painted by contemplative, observant people who want to know more.
The antennas on the roof and huge windows speak of a high need for information and knowledge.
If the windows are small or curtained - a person needs to quickly hide what he wants to hide.
It is interesting when these curtains are not simple, but when they are super-smart, with embellishments, frills - any embellishments speak of hysteroid tendencies, the desire to attract attention, demonstrate and show off.
Flowers on the curtains - the desire to draw attention to what he wants to draw attention to and demonstrate what he wants to demonstrate and hide what he wants to hide.
There are houses that give the impression of lifeless, emotionally emasculated, impoverished.
Darkened windows are like a man wearing sunglasses and doesn't want his eyes to see. And empty windows - emotional impoverishment and lack of emotionality.
If the house does not make ends meet and has a foggy and insufficiently developed image, this will speak of its fuzzy image of its own "I".
There are windows that also have bars. And here another interpretation of the house arises, rather a correlation with parental home in which our subject grew up. Because if he grew up like in a prison, he will draw windows like sashes, but they look like bars. And he will have problems with inner freedom.
Roof
Any decorations on the roof, be it weathercocks or other things, are often the need to demonstrate one's intellectual abilities, education and erudition. Because the roof is the head.
The degree of elaboration of the roof: if it is a little sketched in the expected way - not disturbing, not detailed, rather conditional - this is also not specifically discussed.
And if the roof is well designed - for example, a lot of tiles, we can interpret. Both of these remind us of how a teenager often draws either a shell or a rib in a non-existent animal. Maybe both: a shell on the roof and a fence like a ridge. The shell is protection from pressure from above, and aggression is also directed upwards, protection from leading figures.
Tests are tears invisible to the world. Because from the outside it seems that everything is ok. Until you dig
Skylights
A window in the plane of the roof, through which the sky is visible from below, and from above - you can look into it.
"Kandinsky-Clerambault Syndrome" - a syndrome of made thoughts, a person has the feeling that he is being watched, that his thoughts do not belong to him, but are put into the head of the KGB, a dentist, etc. He is imperatively ordered what he needs to do, where he needs to go, and so on. As a rule, they occur in people who were brought up in conditions when it was necessary to learn about every thought and examine everything under a microscope. Clinical patients draw transparent houses, which are like in geometry textbooks, where all the faces are visible. And then the feeling that any of his thoughts is fully read, that he can be seen through everything.
Pipes
Water pipes are phallic symbolism. The pipes that are on the house are of particular importance. Smoke - emotionality, the release of some affects or feelings. Therefore, when there is a pipe, but there is no smoke - control, excessive restraint. If the smoke is moderate and normal - approx. And if there is too much smoke - a very strong affective outburst, anger, explosion, irritation, etc. The smoke feels more than it should be.
If the pipe is there and of a normal size - the norm. If there is a pipe, and it is very brick, it is alarming, since this may be control over the sexual sphere.
The whole house is pale - the porch, the foundation (the need for support), the dormer window (the need for control) and the pipe are highlighted. It turns out that this is a need for support, an interest in relationships and, in particular, in the sexual sphere.
If a man has a too blackened pipe, disproportionate, then this may indicate anxiety, anxiety in relation to this area: this may be in adolescents and indicates concern. If an adult person draws a naked woman on a drawing of a person and a large pipe, or, on the contrary, he will have a small and inconspicuous, weakly drawn pipe (depending on energy, strong or weak), there are also problems in the sexual sphere. And sometimes it happens in immature, young people - there is no pipe, because the problem of the sexual sphere is not represented in the head.
First there are irrational prohibitions on sex. And then, growing up, a person rationalizes them using religious things.
Attic
- head, mind. The attic is interpreted in three ways. If they say that there are many unnecessary things, this is repression.
She bakes pies and does not eat herself, treats her girlfriends - sublimation of needs for sex.
Why can the attic be an unpleasant place? Because there are nasty rats out there, as one test subject said. And then there are a lot of fears (there are ghosts and the bats). If the roof is leaking, a person has a feeling that his mentality is not in order. And the third option is when his intellect is impaired: people with disabilities and dibility say that the attic is empty and there is nothing to do.
On the contrary, people of schizoids who are prone to daydreaming will have the most pleasant place. Because it is above the level of everyday life, it is an opportunity to rise above everyday life. And many teenagers who are similar to schizoids in this sense also choose the attic.
Most say that the most pleasant place is the living room. But at the same time, a corridor, a canopy, a place in front of the door is often an unpleasant place, where there are strangers, a passage yard, a draft, a lot of dirty shoes and a mess. This means that inside the house there is security, a narrow circle, one's own, and the outside world is unpleasant, a feeling of hostility, uncertainty and insecurity - everything that does not belong to the outside world.
Just like the roof is the head, so the cellar or basement is the sex realm. Often, for example, men say that this is an unpleasant place, because there is only technique (no feelings, no relationships, but only technique). Maybe in adolescence. This is a rather unpleasant moment, because in adolescence there is a connection between the emotional and sexual components.
If the favorite place is the kitchen - women who assert themselves as hostesses, who like to cook and like to be praised for it - their favorite place is the kitchen. On the contrary, in women on a diet and with anorexia, the kitchen is the most unpleasant place. Men who are suffocated by their mother can also say that the kitchen is the most unpleasant place.
Schizophrenics who have schizophrenic mothers say that the most unpleasant place is in the chimney.
If they say that there are no unpleasant places, this is the displacement of problems. And you need him to say which place is the least pleasant.
The number of rooms indicates self-esteem and the level of claims. If there are up to five rooms, this is the norm. If twenty is a lot. This is a reality problem.
If this house is in the mountains, in the forest, turned so that there is no door, one room and grandparents live there - minimalism, lack of pretensions, schizoid.
The place where the house is located: if the house is among the same houses - the desire for socialization and join the team. If the house stands on its own, far from other houses, then this is a desire for some kind of distance.
Drawing a house provokes people to some kind of magic: the feeling that if you draw it all, you will have it. And people draw more. The second interpretation is that when the house is just drawn like that, you can follow who comes up there. But you see when he's quite close. And if you arrange a large territory - this is their entire territory, and thus the house standing in the center is even safer.
When a tree is drawn, there is only one's "I". And when the house - then there are powerful influences from childhood.
For bachelors, the most pleasant childhood is the bedroom, since there is no one there but him.
In order to trust that, for example, if there are big ears, then dependence on the opinions of others, and if there is a hollow in a tree, then psychotrauma, one must be in the subject. Most tend to discount what has been said.
If a man draws himself much more than a woman in a drawing of a person, then the point may be that he feels insecure with his peers. Very often, children who are not very self-confident, who do not know how to communicate with their peers, very often communicate with younger children (if a bad one, he will spread rot and show aggression, if he is good, he will be satisfied that he is needed and that he can help, but at the same time, both will assert themselves).
Consider places cozy, uncomfortable
COZY PLACE
- Normally somewhere near the stove, the living room where the family gathers. A separate room of your own - upstairs, there is an attic room - there is a good view from there, you can retire there, read books ...
- If the favorite place is the kitchen - women who assert themselves as hostesses, who like to cook and like to be praised for it - their favorite place is the kitchen.
- Veranda, terrace - the border of the house and the outside world, between the outside, the inside. It happens to people who are not comfortable at home and who want more freedom. A cozy place outside the home is an attempt at synthesis between external freedom and oneself. It's not bad. But it happens that a person feels bad in the house.
- Attic, attic, second floor - when a self-sufficient person. When he wants to think, be with himself, read, break away from the routine - positive features. Do not touch low-lying problems on the 1st floor.
- Corridor or hallway - negative.
- Bedroom - may mean that a person needs to relax, relax. If it is related to a relationship, then it would be good together.
- Rocking chair - the desire to relax.
- Sometimes they draw a staircase to the 2nd floor - a person does not know how to communicate.
Often an unpleasant place is a corridor, a canopy, a place in front of the door - where there are strangers, a courtyard, a draft, a lot of dirty shoes and a mess. This means that inside the house there is security, a narrow circle, one's own, and the outside world is unpleasant, a feeling of hostility, uncertainty and insecurity - everything that does not belong to the outside world.
For women on a diet and with anorexia, the kitchen is the most unpleasant place. Men who are suffocated by their mother can also say that the kitchen is the most unpleasant place.
When the attic is interpreted as an uncomfortable place, there may be options:
- unintellectual, with a low education, lowered mental capacity, "losers" (such as "there is empty and there is nothing to do");
- Displacement of unpleasant thoughts, memories, problems. Refusal to work on yourself. Then they say that so much has been thrown in that you can break a leg, all the junk is piled up ...;
- When it's scary there (dark, mice, ghosts) - children's fears are not processed;
She bakes pies and does not eat herself, treats her girlfriends - sublimation of needs for sex.
Why can the attic be an unpleasant place? Because there are nasty rats out there, as one test subject said. And then there are a lot of fears (there are ghosts and bats).
Bedroom - if in a family there are emotional disassemblies in the family. Guest bedroom - possibly problems with casual sex.
BASEMENT, CELLER
Basement - sexual sphere
This is our bottom. It can be interpreted as the subconscious, but more often it is the sexual sphere. Associated with genealogical problems in women. If so, then you need to specifically ask for more details. If with a ladder - then you can fall - "a fallen woman." Men have a basement, a pleasant place where there is a generator that heats the whole house. It happens bad - an unpleasant place, there is one technique. There are no feelings, emotions, sex is like acrobatics.
Often - uncomfortable, cold, damp ... Trouble with the basement - anti-sexual education of women and men, fears, problems with achieving pleasure.
Often, for example, men say that this is an unpleasant place, because there is only technique (no feelings, no relationships, but only technique). Maybe in adolescence. This is a rather unpleasant moment, because in adolescence there is a connection between the emotional and sexual components.
Identify and analyze the main emotional and intellectual characteristics specific person Can different ways. The "House, tree, person" (HTP) technique is an interesting and informative test that will tell a lot of important things about the diagnostic participant.
Characteristics of the psychological technique "House, tree, person
Each person is a separate, definite personality, which will not be a second time. People differ in the very essence of the soul; their resemblance is only superficial. The more one becomes himself, the deeper and clearer his original features appear.
Valery Bryusov, Russian poet, prose writer and playwright
A projective test for obtaining personality characteristics "House, tree, person" was proposed in the late 40s of the twentieth century 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 the child after he reaches 3-4 years old, when the baby will already have formed elementary representations 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 comments, conditions and other external manifestations 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 |
| 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) |
| 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 |
| 0, 2 0, 1 0, 1 0, 1 0, 1 0, 1 |
| Feelings of inferiority |
| 0, 1, 2, 3 0, 2 0, 1 0, 1 0, 1 0, 1 0, 1 0, 1 |
| Hostility |
| 0, 2 0, 1 0, 1 0, 1 0, 1 0, 1 0, 2 0, 2 0, 1 0, 2 |
| Conflict (frustration) |
| 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 |
| 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 |
| 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 |
|
| Erasures |
|
| earth lines | A very important element of the picture, which determines the purposefulness.
|
| contours | This nuance provides information about the ability of the subject to maintain personal balance.
|
| Location |
|
| perspective |
|
| 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.
|
| Corrections and additions | If a child draws elements without erasing the previous ones, then he is prone to internal and external conflicts. |
| Insecure drawing |
|
| Transparency | This characteristic indicates the child's desire to ignore reality. But some objects that are not filled with color do not lose touch with reality. That is why school psychologists do not pay attention to such a component (with the exception of cases when transparency is inherent in about 70% of the illustration). |
Interpretation of the key objects of the drawing
House
- If the building is old, then the subject shows a rejection of himself.
- If the house is located in the foreground, then the child is hospitable, likes to spend time with peers.
- The steps leading to the door betray the rationality of the “artist’s” thinking, but if they run into a blank wall, the subject has problems establishing communicative contact.
- The manner in which the walls are depicted indicates the ability to control the situation. So, too thick walls with a clear outline - the desire to be included in everything that happens in the real world. But thin, almost imperceptible contour lines give out the opposite: a desire to shut oneself off from reality.
- The pipe symbolizes warmth and comfort. By its absence, the subject shows a lack of heat. The drainpipe is a symbol of suspiciousness.
- Distortion of the details of the house reveals the hostility of the subject. The same can be said about the absence or, conversely, an excessive number of doors, windows and rooms. A clear line delimiting the floors of the premises indicates a rational approach to resolving issues.
- The analysis of the image of doors deserves special attention. If they are not marked in the house, then it is difficult for the child to open up to other people, including relatives. The presence of only lateral ones indicates the desire of the subject to run away from problems, to yield. Pay attention to the order of the image of the element: the door, completed last, indicates an unwillingness to communicate with people. An unlocked door is a symbol of openness. How larger size 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, the winding path gives creative personality, but the straight line - an innovator who will always and in everything look for easy ways. 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 driving force almost all actions of the subject. Two lines as roots are the desire to suppress some manifestations in oneself (not always bad).
- The symmetry of the plant shows the craving of the subject to be in harmony with the outside world. It is also a manifestation of the fact that the child hesitates in some kind of choice.
Did the kid draw several trees? Perhaps he simply does not follow the recommendations for taking the test, or he has signs of mental retardation. However, this does not apply to the situation when 2 trees appear in the figure.
Human
Usually most of the time children spend on the image of a person. It is important for the experimenter not to interrupt or distract the subject during this process.
- Head. With a large head, the subject shows his understanding of the concept of "smart person", and also clearly refers himself to this category. Small heads, as a symbol of intellectual underdevelopment, are drawn by children aged 9–16, especially those with learning problems. Also, a tiny part of the body indicates the shyness of the child.
- Neck. Long - the desire to control everything that happens around. Usually this element is inherent in the drawings of very active children. Thick and short indicates compliance.
- Shoulders. Wide - recognition of the power of force over the mind. Small ones are a symbol of a sense of one's own worthlessness, belittling one's own merits. Sloping shoulder girdle - a sense of guilt in front of a loved one.
- Torso. A large one speaks of dissatisfaction with something, and a small one speaks of its own low value.
- The prominent chin shows the subject's need to dominate. Wide is usually drawn by indecisive guys.
- Sparse or too thin eyebrows are usually depicted by children who relate to reality with a great deal of skepticism.
- Big ears are drawn by those who can hardly stand criticism. Disproportionately small - a symbol of the desire to drown out any attempts to influence the choice or decision of a teenager. Toddlers have no symbolic meaning.
- Small eyes show the isolation of the child. Lush eyelashes are often drawn by children aged 10–16, as at this age the desire to demonstrate themselves awakens.
- A wide smile denotes insincerity, forced friendliness. The dashed mouth demonstrates a passive acceptance of life, in babies this may be due to overprotective adults. Clearly drawn teeth are present in the pictures of guys who often show aggression.
- The larger the nose, the more cheerful the subject's disposition. The emphasis on the nostrils is made by children prone to demonstrating anger.
- Hair and eyebrows: the more these elements are shaded, the stronger the manifestations of anxiety in the subject. Unpainted hair, decorated only with a contour, speaks of the hostility of the child.
- How longer arms, the more ambitious the child is being tested. Limbs behind the back are drawn by those who do not know how to compromise. Suspicious children draw hands on their chests. Too tightly pressed to the body, the limbs are clumsy guys who constantly hear such a reproach addressed to them. Excessively large hands depict impulsive subjects. If the child generally “forgot” about the limbs, then perhaps he has some psycho-emotional disorders. Hands behind the back - this is a desire to hide something. The absence of palms may be a sign that the subject does not feel maternal love. The more fingers a child has drawn, the more ambition he has. Thin phalanxes are a symbol of hostility. Primitive knuckles symbolize callousness, sometimes even aggression. If 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 own experience. Only in this case the analysis can be considered objective.
