Drawing test to identify intra-family relationships. Test "My family"

"Drawing a family" is one of the most popular methods used in the practical work of a school psychologist. Its extraordinary popularity is probably due to the convenience and speed of use, accessibility for children from primary preschool age, high information content and various opportunities for repeated testing, relieving tension in the subject in an examination situation, as well as obtaining rich material for conversation with parents.
According to the figurative expression of G.T. Homentauskas, this technique allows "to look at the world through the eyes of a child", gives an idea of ​​the child's subjective assessment of his family, his place in it, his relationship with other family members. The technique is based on the natural activity of children from five to ten years old - drawing, which helps to establish a good emotional contact between the psychologist and the child. In drawings, children can express what is difficult for them to express in words. The language of the drawing more openly conveys the meaning of the depicted.
This technique is aimed at identifying emotional problems and difficulties in relationships in the family. This is a "highly informative means of knowing the child's personality, reflecting how the child perceives himself and other family members, what feelings he experiences in the family" ( Homentauskas G.T. The use of children's drawing to study intra-family relations). In the same place: “The features of graphic presentations of family members express the child’s feelings for them, how the child perceives them, which characteristics of family members are most significant for him, which ones cause anxiety.”
There is no consensus among researchers about who and when was the first to suggest using the family drawing for psychodiagnostic purposes. Some call V. Hules (1951) and M. Reznikov (1956), others - V. Wolf (1947) and K. Appel (1931).
The development of the methodology went in two directions: changing the instructions for the task (P. Greger, L. Korman) and expanding the range of interpreted parameters of the drawing (W. Hules, L. Korman). The "Family Drawing" was used by many domestic researchers and practitioners: A.I. Zakharov, E.T. Sokolova, V.S. Mukhina, V.K. Loseva, A.S. Spivakovskaya and others. The test procedure and the interpretation of the figure are most fully described in the works of G.T. Homentauskas.
There are many modifications to the application of the test and the processing of results. The child is asked to either “draw his family” (V. Hules, J. Dileo), or “draw a family” (E. Hammer), or “draw all the members of his family busy with something” (“Kinetic Drawing of the Family” - P . Burns, S. Kaufman), etc.
Some options include a conversation after drawing on certain issues and on the content of the drawing (L. Korman). The technique can be supplemented with other tasks (for example, draw a family in four rooms - modified by A. Zakharov), can be carried out both separately with the child and with all family members (C. Shearn and K. Russell). In the latter version, it becomes possible to compare the points of view of the father, mother and children on family relationships.
It should be noted that initially the Family Drawing method, like many projective methods, was developed in clinical psychology and psychotherapy. The researchers tried to establish the features of the drawings created by patients, built not only qualitative, but also quantitative interpretation schemes. For example, R.F. Beliauskaite, when analyzing the "Kinetic Pattern of the Family", identifies five symptom complexes: a favorable family situation, anxiety, conflict in the family, feelings of inferiority, hostility in the family situation, according to which the number of points is calculated.
"Family drawing" is also a favorite tool of research psychologists. Thus, this technique was used to study a family portrait (V.N. Druzhinin).
There are many different systems for interpreting the results of the Family Drawing test. Domestic psychologists most often use the schemes proposed by V.K. Loseva and G.T. Homentauskas.
So, G.T. Homentauskas considers it necessary to analyze the pattern of the family on three levels. At the first level, the generalized structure of the drawing is identified and interpreted. The second gives an interpretation of graphic images of individual family members. The third involves the analysis of the drawing process.
When interpreting the test, a lot of individual more or less significant features of the picture are used. VC. Loseva gives 33 rules for interpreting a drawing. She also draws attention to the process of drawing, to the signatures that the child makes next to the characters. Unlike many authors, V.K. Loseva notes that the image of many things does not speak of a poor emotional life in the family, but of the direction of these emotions to the world of objects, of the need for stability and constancy of emotions.
In our work, we used the "Kinetic family pattern" option. We believe, following R. Burns and S. Kaufman, that this version of the methodology provides more significant information about the interactions of family members than static drawings. In practice, we have seen that when drawing a static picture of a family, children most often draw figures standing next to each other (“portrait”, “photo” of the family). It does not reflect the features of communications. Therefore, we asked the subjects to draw all the members of their family, including themselves, engaged in some kind of business.
The work used a standard sheet of white paper (A4), a simple pencil and colored pencils.
All the children, after listening to the instructions, immediately set to work. At the end of the drawing, we found out who the child had drawn, what the drawn people were doing, and also where they were.
Our task was to find the characteristic features of the drawing, showing the presence of competitive relations between siblings. As you know, parents have a huge influence on the relationship of children in the family. Therefore, we consider drawing the whole family more
justified than if the children drew only their brothers and sisters. A complete family picture provides more information about interpersonal relationships in the family. The child needs to imagine the whole range of family relationships and find a place for himself in it, express his perception of close relatives.
Analyzing the interpretation schemes of V.K. Loseva, G.T. Homentauskas, R. Burns and S. Kaufman, J. Oster and P. Gould, we identified the following features of sibling competitive relations:

Absence of the author or sibling in the drawing;
- the presence in the figure of only the author or sibling;
- features of the size of the figures of the author and the sibling;
- features of the arrangement of the figures of the author and the sibling on the sheet;
- mutual arrangement of the figures of the author and the sibling;
- distinctive features in drawing the figures of the author and the sibling;
- special signs of competition.

Let's consider them in more detail.

NO AUTHOR OR SIBLING IN THE DRAWING

As you know, the incomplete composition of the family in the figure is observed in cases where the author is dissatisfied with the family situation. Those family members who are the least emotionally attractive, or those with whom there are conflicting relationships, are skipped. When asked why they are not in the picture, the child can give a defensive answer: “there was not enough space”, “I’m afraid that it will turn out badly”, etc.
The sibling in the figure may be absent for various reasons. First, the author may have unconscious negative feelings for him that he cannot or does not want to openly show (for example, intense jealousy). Skipping the figure of a brother or sister, denying his presence, the child seems to be trying to exclude rivalry. Secondly, the omission of the sibling figure can also be observed in cases where there is a complete absence of emotional contact between children. The second case, of course, will not be considered as a sign of competition.
The reason for the absence of the author in the drawing may be the difficulties of self-expression when communicating with loved ones, the lack of a sense of community with the family: “I am not noticed here”, “it is difficult for me to find my place”. Such conflicting pessimism cannot be considered a sign of competition.
The author can also omit himself in protest, believing that he has been forgotten: “everything is already distributed in this structure, I don’t care much, I don’t have a place here” or “I don’t try to find my place or way of expression here.” In this case, we can talk about rivalry.
The absence of all children in the figure was not observed in our practice.

PRESENCE IN THE FIGURE ONLY BY THE AUTHOR OR SIBLING

Sometimes, in response to the psychologist's request to draw his family, the child draws only the sibling. So the author emphasizes the importance of it in his life. Moreover, if the figure is small, drawn in gray and black, then we can talk about the competitive negative attitudes of children. If the figure is large, carefully drawn, with a lot of small details and additions, then this is the most important and most beloved person for the author, the one who understands him and works with him.
In some cases, children draw only themselves, in fantastic outfits, with flowers, in large sizes. This may indicate the presence of self-centeredness and, possibly, hysterical character traits. The author, emphasizing his individuality, forgets about others. Such drawings are observed in children brought up according to the "family idol" type.
The only figure of the author in the figure may, on the contrary, be small, negatively colored, against a dark background. So the author emphasizes his rejection, abandonment. This mood occurs in the first-born in the first time after the birth of the youngest sibling, when parents pay attention only to the newborn, forgetting about the older child.

SIZE OF THE AUTHOR AND SIBLING FIGURES

If the author draws all members of his family (first of all, we paid attention to the presence of parents and both children), then when analyzing the drawing, the sizes of the drawn figures are compared. They may be adequately distributed according to height, but distortions may also be present. So, if children and adults are about the same size or the figure of the author is higher than the rest, then this is interpreted as a sign of competition for parental love with another parent or brother-sister. The large growth of the author, combined with careful detailing, emphasizes his significant position in the family.
If the figure of the author is smaller than the others, which does not correspond to reality, then he most likely suffers from his insignificance for his parents.
The small figure of the author, combined with the large, well-drawn figure of the sibling, may emphasize the privileged position of the latter in comparison with the author. The sibling can be above everyone or only above the author (often a pedestal is specially invented for this). Thus, the inadequate size of the figures of children indicates the presence of competition between them.

LOCATION OF FIGURES ON THE SHEET

On the plane of the sheet, family members are rarely located on the same line. Most often, someone is higher, and someone is lower than the rest. It is believed that in this way children show their opinion about the power in the family: the greater the power and influence of a family member, the higher his figure. This rule does not depend on the previous one, since a small-sized figure can be tallest in the picture (for example, in the opinion of a child, a newborn controls the whole family). Power in the family may belong to one of the adults, but competition still exists if one of the children is significantly lower than the other.
In cases of linear arrangement, the most significant character is located the very first (left). A.I. Zakharov notices that normally, most often, children draw their father in the first place, their mother in the second (from left to right), and themselves in the third.
With neuroses in boys, the picture remains unchanged, and girls often put their mother in the first place, emphasizing her dominant position.
If the sibling is placed second, then this indicates that the author is jealous of his parents.
The presence in the drawing of all family members engaged in common activities or doing their business next to each other (at close distance), as well as standing close to each other, holding hands or stretching out hands to each other, speaks of cohesion, emotional well-being in the family, child's involvement in this situation.
According to V.K. Loseva, G.T. Homentauskas and others, the linear distance between figures (not only people, but also things) is a psychological distance. We are talking about a perceptual linear distance on a plane.
In conflicts, there is a fragmentation of space or a violation of the integrity of the image of family members: the figures of the parents are separated by a large gap or another figure. Due to the disunity in the space of family members, they are less focused on joint actions. In addition, the figures of family members, including the child, are more static and tense.
If the siblings are close to each other, then the author perceives his brother or sister favorably; and if they hold hands, it means that there is a close psychological contact between them. If they are far apart and / or separated by other characters or objects, then it can be assumed that there is a conflict relationship between them. At the same time, the closeness to the parents of one of the children and the distance from them of the other emphasizes the exclusive status of one of the children and is a sign of competition between them.
The existence of the author's jealousy of the parents is assumed if the sibling is drawn between the parents or close to them. The same conclusion can be drawn if, with a linear arrangement of all family members, the author draws himself to the right of his brother or sister, away from his parents.

DIFFERENT FEATURES IN DRAWING THE FIGURES OF THE AUTHOR AND THE SIBLING

A child can express a negative attitude towards himself or a sibling through a non-detailed or incomplete (for example, without any parts of the body) image. So, the author can carefully depict himself, in beautiful clothes, draw his figure to the details, return to it in the process of drawing, correct and supplement it, and draw a sibling with just a few strokes, in sloppy clothes. This is a sign of competition between siblings. The same can be said if the author dresses up the sibling in festive, catchy, fantastic outfits, but does not dwell on his figure for a long time.
With the help of shading, pressure, dark tones, the presence of a conflict is shown. Interpreters in this case pay attention to what is especially highlighted, they try to determine the functions of that part of the body that the author rejects. By the way or in what style the child draws himself (how much he resembles other characters), it is possible to establish with whom he identifies himself, whether it corresponds to his gender. The common color scheme with one of the adults or children in the picture, in particular, the same color of the body, indicates a high probability of identification with him on the basis of gender.

SPECIAL SIGNS OF COMPETITION IN THE FIGURE

The image of a sibling between the sun or another light source and the author may indicate competition. Light sources symbolize warmth, protection, so the figure that prevents the author from using this is seen as an obstacle to receiving full protection and guardianship.
In rare cases, children directly depict quarrels, fights, fights, competitions with brothers and sisters.
A direct symbol of competition is the isolation of the sibling from the rest of the family, concluding him in a closed space (bed, stroller), the image of objects dangerous to his life, and the darkening of the area around the sibling. The last signs can be considered not only as competition, but also as a manifestation of anger and aggression towards him.
It happens that both children are graphically separated. Often the relationship here is ambivalent. On the one hand, according to the author's intention, they act as a single group, and on the other hand, there is tension and rivalry between them.
A.I. Zakharov notes that with a certain degree of caution, we can assume that the predominance of gray and black colors in the drawing emphasizes the lack of cheerfulness, low mood, a large number of fears that the child cannot cope with. The dominance of bright, light, saturated colors indicates the high vitality of the author and his optimism.
Broad strokes, the scale of the image, the absence of preliminary sketches and subsequent additions that change the original plot speak of confidence and determination.
Increased excitability, hyperactivity are expressed in the instability of the image, its blurring or in a large number of distinct, intersecting lines.

Five Signs

So, in the special literature, seven signs of competition between brothers and sisters are distinguished. We compared these data with the results of our experimental study. The drawings of the family were processed taking into account the above criteria, and the results of the method "Tales of Duss (Despert)" were also taken into account (see School psychologist, No. 25, 2001).
We have obtained five common signs of competition between siblings:

Different sizes of children's figures;
- the location of the figures of children is not on the same line;
- isolation of one or both figures of children;
- highlighting the figures of the author or sibling using hatching, dark tones, broken lines;
- separation of children's figures by various objects, people or space.

Let's consider each of them specifically.

Different size of children's figures

Not registered in the absence of a figure of one of the siblings. The difference in height in the figure is most often determined without much difficulty. If one child is drawn standing, and the other sitting or not in full growth, then the drawn linear size is considered. If it is difficult to determine differences in size by eye, this feature is not counted. Note that the actual height of the children in this case does not affect the interpretation (Fig. 1).

The location of the figures of children is not on the same line

Not registered in the absence of a figure of one of the siblings. Children can be in one part of the sheet (upper or lower), or in different ones. In the latter version, this feature is always counted. When the figures are arranged in a row, the sign is counted if the difference is visible to the naked eye (Fig. 2).

Isolation of one or both figures of children

This is a very characteristic feature, emphasizing conflict relations between children. It registers in all variants, regardless of whether all children are drawn, one of them is isolated, or both. In some cases, the child simply draws a closed line around himself or his sibling. In others - "puts on the sofa" or "puts on the bed." Thirdly, it limits space with a chair, table, ladder, etc. Fourthly, he draws only a crib, a stroller or a high chair, behind which a person is not visible. This feature is rarely found in static drawings of the family, but in kinetic drawings it is especially pronounced (Fig. 3).

Highlighting the figure of the sibling or the author with shading, dark tones

This feature can be distinguished by comparing the drawing style of all figures in the figure. If they are all drawn in the same style, then the attribute is not counted.

Hatching, dark tones, as well as a broken line, strong pressure, erasures are, according to R.F. Belyauskaite, a manifestation of the symptom complex of anxiety. And this is consistent with the opinion of other authors: such characteristics of the sibling drawing show that it evokes anxious feelings in the author, which inevitably accompany competition and jealousy in children. In the future, I think, a more precise formulation of this feature will be obtained. At this stage, we can only say that it is hatching and dark tones that are most often found in the drawings (Fig. 3).

Separation of children's figures by various objects, people or space

These signs of the drawing, as well as isolation, testify to the conflict relationship between siblings. Unlike isolation, figures are separated not just by a line, but by specific objects: a table, a cabinet, a board, or people. Moreover, these can be objects both reaching the size of the drawn figure of a person, and smaller than it (ball, basket, etc.) (Fig. 4). In some cases, the figures of siblings are separated by a relatively large space, which is also an indicative characteristic of the relationship.

LET'S CONSIDER AN EXAMPLE

Of course, when analyzing the drawings, it must be borne in mind that these signs should reflect the relationship of siblings, since they can also be distinguished in a conflict situation in the family or unfavorable relations with one of the adult family members.
As an example, let us comment on the drawing of the family of a seven-year-old girl L., who has a 1.5-year-old sister (Fig. 5).

In this case, the sibling figures are of different sizes; are not located on the same line; not isolated; the figure of the author is highlighted in a brighter color, and the figure of the sibling is hatched; the figures of the children are separated by the board.
The presence of both children in the figure indicates the existence of a certain relationship between them. The large bright figure of the author, together with the small figure of the sibling, testifies to the competition between the eldest daughter and the youngest for parental love.
The greatest significance and authority for the author are the mother and sister, however, according to L., the younger sister has more power in the family.
The existence of jealousy is emphasized by separating the youngest girl from the rest with the help of a board.
The sister causes anxiety in the author - this is evidenced by the way the sister's hair is drawn, and the traced eyes testify to the author's interest and special attention to her.
The presence of these four features in the figure indicates the presence of obvious competition of siblings in this family.

UNTYPICAL SIGNS

It should be noted that in our practice we also encountered other signs of competitive relations between siblings. These signs are present in isolated cases, but they are so bright that they cannot be overlooked.
The figures of children who have turned away from each other speak of the competitive-rejecting relations of siblings. They can be drawn in profile, looking in different directions, or one figure is full face and the other is in profile. This symptom is more common in children of primary school and adolescence. According to our data, it is in this age group (especially among girls) that there is an increase in conflict relations with brothers and sisters (Fig. 6).

When determining the level of competition, these features are taken into account in conjunction with the main ones.

SOME PRINCIPLES

Despite the advantages of the Family Drawing technique, its use requires practical experience in the application and critical reflection on the interpretation of drawings. It should not be forgotten that the data of the projective methodology need to be verified and confirmed by other methods. Therefore, it is useful to remember some principles for the use of drawing in psychological diagnostics, proposed by J. Shvantsara.

1. For preschool children and for some children of primary school age, drawing is a game; in the atmosphere of gaming activity, their drawing within the framework of the test should also take place.

2. A single paper format of the same grain size and the same drawing material should be used, for example, always a 2M pencil, colored pencils of the same shades, etc.

3. Write down all the important circumstances: date, time, lighting, degree of adaptation, verbal accompaniment, expression of the degree of affection, holding a pencil, turning the drawing plane, etc. observe.

4. A psychologist working in the field of diagnostics should be able to classify the drawing in terms of the level of development of the child and in terms of unusual signs.

5. The drawing should be considered as the result of an activity that can (but should not) be a projection field of intense experiences.

6. Errors in psychological diagnostics are more often caused by an exaggeration of the projective significance of a drawing than by shortcomings in the interpretation scheme.

7. Drawing should never be used as the sole starting point for projective interpretation. It must be compared with the results of further tests, with a conversation with parents, etc.

8. Drawing can be an indicator of creative abilities, as well as pathological processes (functional and organic).

This technique can be used most productively in cases where it is only necessary to understand the “image of the surrounding world” of the child, to build a hypothesis, which will then be tested and changed.
The results of applying the family drawing when working with preschoolers and younger schoolchildren are especially significant, according to many researchers, for example
K. Barth, L. and J. Schwanzara. At this age, using graphic signs, the child conveys more information than through speech.

LITERATURE

Druzhinin V.N. Family psychology. Yekaterinburg: Business book, 2000.
Almanac of psychological tests. M.: KSP, 1996, p. 325–330.
Burns R.S., Kaufman S.H. Kinetic Drawing of the Family: An Introduction to Understanding Children through Kinetic Drawings. Per. from English. M.: Meaning, 2000.
Homentauskas G.T. The use of children's drawing to study intra-family relationships. Questions of psychology, No. 1, 1986, p. 165–171.
Shirn C., Russell K."Family drawing" as a method of studying parent-child relationships. Projective psychology. Per. from English. Moscow: April Press, EKSMO-Press, 2000, p. 345–354.
Romanova E.S., Potemkina O.F. Graphic methods in psychological diagnostics. M.: Didakt, 1992.
Shvantsara L. and J. The development of children's graphic representations. Diagnostics of mental development. Ed. J. Shvantsara. Prague: Med. publishing house AVICENUM, 1978 .
Oster J., Gould P. Drawing in psychotherapy. Methodological guide for students of the course "Psychotherapy". M.: ITsPK, 2000.
Belyauskaite R.F. Drawing tests as a means of diagnosing the development of a child's personality. In Sat: Diagnostic and corrective work of a school psychologist. Ed. I.V. Dubrovina. M.: APN USSR, 1987.
Zakharov A.I. The origin of childhood neuroses and psychotherapy. M.: EKSMO-Press, 2000.
Loseva V.K. Drawing a family: Diagnosis of family relationships. M.: A.P.O., 1995.

Children's drawings are a real storehouse of information. They reveal feelings, fears and even the character of the artist. Look closely at a child's drawing and you will see how he perceives the world.

What does a child's drawing mean?

In order to correctly interpret, parents should in no case criticize the work. Pink leaves on the tree, lack of hair or eyes on the characters - do not point out such “flaws”, otherwise you will deprive yourself of useful information. What should be done is to ask why the characters are sad or funny, who is the most beautiful, less pleasant. When studying children's drawing, remember that it does not give a complete decoding of true feelings and thoughts. If the finished image is too gloomy, visit a specialist. The psychologist will read the artist's messages, talk to him and give instructions on how to meet the needs of the baby.

Deciphering a children's drawing my family

The interpretation of the drawing my family is possible without the help of a psychologist, if you know all the nuances. The easiest way to learn more about a child is to look at a family drawing.

2. Attachment. The closest relatives to the baby show deep emotional attachment, this also applies to the case when the child in the picture holds someone's hand.

3. Lack of hands. If parents are drawn with hands and brothers without hands, this shows a strong attachment to parents and problems in communicating with brothers or sisters. What could be the conflict? For example, in the use of toys. The artist depicts a brother without hands so that he does not take anything.

4. Safety. Is there an object placed between the child and the parent - a tree or an animal? This means that the baby does not feel safe next to the person "on the other side." Perhaps the separated adult is too hard or demanding.

5. Dislike. People who cause anxiety or other unpleasant feelings are in the corner of the sheet or separate from other family members. Some children portray brothers this way because they get more attention or the artist is the youngest in the family and receives a lot of negativity from older brothers. An unpleasant person may not be on the sheet at all. A sign of anxiety is also the absence of all family members, with the exception of a person who deserves respect.

6. Role in the family. People who do not occupy a special role in life are portrayed as the latest. When a child draws himself last, or worse, does not enter the drawing at all, this means that he feels emotionally rejected and deprived of love.

7. The character of the child according to the drawing. The work of a small artist will tell about the character. Lines drawn with great pressure speak of confidence and vigor. Shy children draw in thin lines with less pressure, and the images are so small that there is a lot of space on the sheet. Chaotic, quick strokes characterize a very active child.

8. Aggression. The child expresses himself as an aggressive person if his “double” in the picture is holding weapons or sharp objects.

9. Colors of children's drawing. Cheerful and very active children most often choose bright warm colors: red, yellow, orange. Calm kids add shades of green, blue, purple. Drawings with a predominance of dark brown or black indicate a bad mood and a lack of a sense of security. A sparsely colored figure indicates a bad relationship with this person. A bright, colorful figure indicates admiration. The brighter the person, the more he is loved.

10. Facial expression. If in the children's drawing everyone is smiling and at the same time, there are no negative signs, you can be sure that the child feels good. Sad or stern faces indicate unpleasant emotions caused by the situation in the family. A person who has no face reveals a desire not to have contact with him, perhaps an alcoholic father or an overly strict aunt.

If you think that the child's drawing conveys excessive aggression and the colors are too dark or gray, pay attention to the behavior of the young artist. Shyness reflects self-doubt, aggressiveness is the cause of a lack of attention, “eternal discontent” is a sign of fatigue from everyday life, a lack of vivid emotions. The best way to learn more and correct the situation is to show the image to a psychologist who, after talking with all family members, will help restore the tender child's soul.

Purpose: Identification of the characteristics of the relationship of the child in the family

Methods of "drawing a family"

Methods of "drawing a family"- a group of projective methods for assessing intra-family relations. Based on the analysis and interpretation of drawings. As a rule, it is used in the examination of children.

Drawing techniques are one of the most common among projective tests. The idea to use the technique of drawing to diagnose intra-family relations arose from a number of researchers. a detailed scheme for conducting a survey and interpreting the results was first developed for the “Draw your family” test (W. Wolf, 1947). The experience of applying the drawing technique for these purposes was accumulated in the works of V. Hules (1951-1952).

According to the interpretation scheme according to W. Wolfe, the figure analyzes : a) the sequence of drawing family members, their spatial arrangement, the presence of passes for individual family members; b) differences in the shapes and proportions of individual family members. According to W. Wolf, the sequence of drawing indicates the importance of this family member; the omission of a family member often expresses a desire to get rid of an emotionally unacceptable person. If the size of the depicted figures does not correspond to the real hierarchy, then such perception is attributed to the degree of subjective dominance and significance. V. Wulff also paid attention to the interpretation in the difference in the drawing of individual parts of the body, based on the possibility of experiences associated with their functions.

In the works of V. Hules, interpretative schemes of the “family drawing” methodology were proposed, based on the drawing process itself (the use of colors, crossing out, erasing, doubts, accompanying emotional manifestations, comments).

Further development of the "family drawing" methodology was obtained in the works of L. Korman (1964), R. Burns and S. Kaufman (1972). The instructions for L. Korman's method provide for the task: to draw not a "family" or "your own family", as in the methods of V. Wolfe and V. Hules, but "a family as you imagine it." Thanks to this attitude, it is possible to use a less structured object (stimulus).

When interpreting the result, the authors pay attention to cases when the subject draws a larger or smaller family than it really is. In the drawings according to L. Korman analyze: a) their graphic quality (character of lines, proportions of figures, accuracy, use of space); b) formal structure (dynamic pattern, location of family members); c) content (analysis of the meaning of the picture). In parallel with the traditional conduct of the study (reading and doing the task), special questions are offered that push the subject to discuss the topic of family relations and provide for a direct positive or negative choice, as well as questions that clarify the meaning of the situation drawn by the child.

The most famous option in foreign psychodiagnostics is the “Kinetic Family Pattern”, proposed by R. Burns and S. Kaufman. In it you need to draw each of the family members in action. The interpretation of the material is based on the symbolic interpretation of the depicted relationships, actions, objects.

In Russian psychodiagnostics A.I. Zakharov (1977) developed his own version of the Family Drawing methodology. The methodology consists of two tasks. To complete the first of them, the child needs to draw in "four rooms" located on "two floors", one of the family members, including himself. When interpreting the drawing, attention is drawn to the placement of family members on the floors and to which of them is next to the child (i.e., is emotionally the closest). The second task is the execution of a free-form drawing without any instructions.

In addition to the above methods, there are many more psychodiagnostic methods for identifying family problems. Here are just a few of them:

- "Analysis of family relationships" (DIA) E.G. Eidemiller - designed for parents of teenagers aged 14-18;

- "Test Questionnaire of Parental Attitude" (ORA) by A. Varga and V. Stolin - focused on the study of parental positions (mother or father) in relation to a particular child;

- "Questionnaire of interpersonal diagnosis" T. Leary, R. Lafourzhe - the definition of the psychological atmosphere in the family.

- "Marriage Satisfaction Test Questionnaire" (MSB) by V. Stolin, T. Romanova, G. Butenko.

It is used to study the interpersonal relationship of a child with parents. This technique reflects, first of all, the child's feelings and perception of his place in the family, the child's attitude to the family as a whole and its individual members.

The most productive use of the test "Family Drawing" in senior preschool and primary school age.

For the study, you need a sheet of white paper measuring 15x20 cm or 21x29 cm, six colored pencils (black, red, blue, green, yellow, brown), an eraser.

The child is given the instruction: "Please draw your family." In no case should you explain what the word "family" means. If a child asks what to draw, the psychologist should simply repeat the instructions. Even if he asks a question like: “Do you need to draw a grandmother?” - do not answer the question directly, but rather say: "Draw the way you want." The duration of the task is not limited (in most cases it lasts no more than 35 minutes). When completing a task, the following should be noted in the protocol: a) the sequence of drawing details; b) pauses for more than 15 seconds; c) erasing details; d) spontaneous comments of the child; e) emotional reactions and their connection with the depicted content.

After completing the task, one should strive to get as much information as possible verbally. The following questions are usually asked:

1. Tell me, who is drawn here?

2. Where are they located?

3. What do they do? Who came up with this?

4. Are they fun or bored? Why?

5. Who is the happiest person in the picture? Why?

6. Who is the most miserable among them? Why?

The last two questions provoke the child to openly discuss feelings, which not every child is inclined to do. Therefore, if the child does not answer them or answers formally, you should not insist on an answer. When interviewed, the psychologist should try to find out the meaning of what is drawn: feelings for individual family members, why the child did not draw one of the members (if this happened); what certain details of the picture mean for the child (birds, animals, etc.). At the same time, if possible, direct questions should be avoided, insisting on an answer, as this can cause anxiety, defensive reactions. Projective questions often turn out to be productive (for example: “If a person were drawn instead of a bird, then who would it be?”, “Who would win between your brother and you?”, “Whom will mom call to go with her?”, Etc. .).

After the survey, the child is asked to solve 6 situations: three of them should reveal negative feelings towards family members, three - positive ones.

1. Imagine that you have two tickets to the circus. Who would you invite to come with you?

2. Imagine that your whole family is visiting, but one of you is sick and has to stay at home. Who is he?

3. You build a house out of the designer (cut out a paper dress for a doll) and you are unlucky. Who will you call for help?

4. You have "N" tickets (one less than family members) to an interesting movie. Who will stay at home?

5. Imagine that you are on a desert island. Who would you like to live there with?

6. You received an interesting lotto as a gift. The whole family sat down to play, but you are one person more than necessary. Who won't play?

For interpretation, you also need to know: a) the age of the child under study; b) the composition of his family, the age of brothers and sisters; c) if possible, have information about the behavior of the child in the family, kindergarten or school.

The interpretation of the figure can be conditionally divided into three parts:

1) analysis of the structure of the “Family Drawing»; 2) interpretation of the features of graphic presentations of family members; 3) analysis of the drawing process.

Analysis of the structure of the family pattern and comparison of the composition

drawn and real family

A child experiencing emotional well-being in the family, as a rule, draws a complete family. The distortion of the real composition of the family always deserves close attention, since behind this there is almost always an emotional conflict, dissatisfaction with the family situation. The extreme options are drawings in which: a) people are not depicted at all; b) only people not related to the family are depicted. Such defensive avoidance of the task is extremely rare in children. Behind such reactions most often lie: a) traumatic experiences associated with the family; b) a feeling of rejection, abandonment (therefore, such drawings are relatively frequent in children who have recently come to the boarding school from families); c) autism; d) a sense of insecurity, a high level of anxiety; e) poor contact between the psychologist and the child under study.

In practice, one has to deal with less pronounced deviations from the real composition of the family. Children reduce the composition of the family, "forgetting" to draw those members who are less emotionally attractive to them, with whom conflict relations have developed. Without drawing them, the child, as it were, discharges an unacceptable emotional atmosphere in the family, avoids negative emotions associated with certain people. Most often, there are no brothers or sisters in the drawing, so the child “monopolizes” the missing love and attention of the parents. When asked why this or that family member was not drawn, the answers are, as a rule, defensive: “I didn’t draw because there was no space left”, “He went for a walk”, etc., and sometimes direct: “I didn’t want to – he fights”, “I don’t want him to live with us”, etc.

Of great interest are those drawings in which the child does not draw himself or, instead of the family, draws only himself. In both cases, this indicates the child's lack of a sense of community. The absence of “I” in the picture is more characteristic of children who feel rejection, rejection. the image in the drawing of only "I" can be interpreted in different ways, depending on the context of other characteristics of the drawing. If the presentation of only the “I” is characterized by a positive concentration on drawing oneself (a large number of body details, colors, decorating clothes, a large size of the figure), then this, along with the lack of a sense of community, also indicates a certain egocentricity, hysterical character traits. If the drawing of oneself is characterized by a small size, sketchiness, if a negative emotional background is created in the drawing by other details and colors, then one can assume the presence of a feeling of rejection, abandonment, and sometimes autistic tendencies.

The increase in the composition of the family is also informative. This is due to unmet psychological needs in the family. Drawings of only children can serve as examples - they relatively more often include families of strangers in the drawing. If, in addition to family members, a child of the same age is drawn (cousin, neighbor's daughter, etc.), this is a reflection of the need for equal, cooperative relations; if younger - the desire to take a guarding, parental, leading position in relation to other children (the same information can be given in addition to family members by drawn dogs, cats, etc.).

Location of family members

It indicates some psychological features of relationships in the family.

Family cohesion, drawing family members with joined hands, their unity in common activities are indicators of psychological well-being, the perception of the family's integrativeness, inclusion in the family, except for those cases when the close arrangement of the figures is an attempt by the child to unite, rally the family. Drawings with opposite characteristics (disunity of family members) may indicate a low level of emotional ties.

Psychologically interesting are those drawings in which part of the family is located in one group, and one or more persons are distant. If the child draws himself remotely, this indicates a feeling of exclusion, alienation. In the case of the separation of another family member, one can assume a negative attitude of the child towards him, sometimes judge the threat emanating from him, or his low significance for the child.

The grouping of family members in a drawing sometimes helps to highlight the psychological microstructures of a family, a coalition.

The weakness of positive interpersonal connections is also indicated by the separation of family members by objects, the division of the picture into cells into which family members are distributed.

It is believed that the highest figure in the picture is the character who, according to the child, has the greatest power in the family, although he may be the smallest in linear size. Below all is the one whose power in the family is minimal. The principle of vertical hierarchy also extends to the world of objects.

Analysis of the features of the drawn figures

Features of the graphic representation of individual family members provide valuable information about the emotional attitude of the child to an individual family member, about how the child perceives him, about the “I-image” of the child, his complete identification, etc.

When assessing the emotional relationship of the child to family members, attention should be paid to the following points:

1) number of body parts. Are: head, hair, ears, eyes, pupils, eyelashes, eyebrows, nose, cheeks, mouth, neck, shoulders, arms, palms, fingers, legs, feet;

2) decoration(details of clothing and decorations): hat, collar, tie, bows, pockets, belt, buttons, hairstyle elements, clothing intricacies, jewelry, clothing patterns, etc.;

3) the number of colors used to draw the figure.

As a rule, a good emotional relationship with a person is accompanied by a positive concentration on his drawing, which as a result is reflected in more details of the body, decoration, use of various colors. And vice versa, a negative attitude towards a person leads to a more schematic, incomplete image. Sometimes the omission in the drawing of essential parts of the body (head, arms, legs) can indicate, along with a negative attitude towards him, also aggressive motives towards this person.

The perception of other family members and the “I-image” of the painter can be judged by comparing the sizes of the figures. Children usually draw their mother or father as the largest, which corresponds to reality. However, sometimes the ratio of the sizes of the drawn figures clearly does not correspond to the real ratio of the sizes of family members, since the size of the depicted character or object expresses its subjective significance for the child, i.e. what place does the relationship with this character or object occupy at the moment in the soul of the child. Some children who are the largest or equal in size to their parents draw themselves, which is associated with: a) the child's egocentricity; b) competition for parental love with another parent, in which the child equates himself with the parent of the opposite sex, while excluding or reducing the "competitor". Significantly smaller than other family members, children draw themselves who: a) feel their insignificance, uselessness, etc.; b) requiring guardianship, care from parents. In general, when interpreting the magnitudes of the figures, the psychologist should pay attention only to significant distortions of the figures.

The absolute value of the figures can also be informative. Large, through the West List, figures are drawn by impulsive, self-confident, dominating children. Very small figures are associated with anxiety, a sense of insecurity. If a group of small figures is shown at the top of the sheet, and the large lower part of the sheet is empty, then this indicates that low self-esteem is combined with a high level of claims.

You should also pay attention to the drawing of individual parts of the body, since individual parts of the body are associated with certain areas of activity, they are means of communication, control, movement, etc. Let's analyze the most informative parts of the body.

Hands are the main means of influencing the world, of physically controlling the behavior of other people. If a child draws himself with his arms raised up, with long fingers, then this is often associated with his aggressive desires. Sometimes such drawings are drawn by outwardly calm, complaisant children. It can be assumed that the child feels hostility towards others, but his aggressive impulses are suppressed, or he seeks to compensate for his weakness, wanting to be strong, to dominate others. The latter will be more reliable if, in addition to "aggressive" hands, the child also draws broad shoulders or other attributes, symbols of "masculinity" and strength. Sometimes a child draws all family members with hands, but "forgets" to draw them for himself. If at the same time the child also draws himself disproportionately small, then this may be due to a feeling of powerlessness, his own insignificance in the family, with the feeling that others suppress his activity, overly control him. Interesting drawings in which one of the family members is drawn with long arms, thumbs. Most often, this indicates the child's perception of the aggressiveness of this family member. The more powerful a given character is perceived to be, the larger his hand. The image of a family member without arms at all can have the same meaning - in this way the child limits his activity by symbolic means.

If there are more than five fingers on the hand, then the child feels (or the corresponding character) is more equipped, strong, powerful (if on the left hand, then in the sphere of family relations, if on the right, then in the world outside the family: at school, garden, courtyard, etc.), if less, then weaker than those around them.

Legs perform the function of support in reality and freedom of movement. The larger the area of ​​support at the feet, the more this character is perceived as standing firmly on the ground.

Head- the center of localization of "I", intellectual and perceptual activity; The face is the most important part of the body in the process of communication. Already children from the age of 3 in the drawing necessarily draw the head, some parts of the body. If children older than five years of age (normal intelligence) miss body parts (eyes, mouth) in the drawing, this may indicate serious communication disorders, isolation, autism. If, when drawing, they skip the head, facial features or stroke the entire face, then this is often associated with a conflict relationship with this person, a hostile attitude towards him. It is assumed that the child considers the most "intelligent" member of his family to be the person whom he endowed with the largest head. The facial expressions of the people drawn can also be an indicator of the child's feelings for them. However, it should be remembered that children tend to draw smiling people. Therefore, facial expressions are significant only in cases where they differ from each other. Girls pay more attention to face drawing than boys, depicting more details. Therefore, concentration on face drawing may indicate good gender identification in girls and concern for physical beauty, the desire to compensate for their physical shortcomings, the formation of stereotypes of female behavior - in a boy.

You should know that with age, a person’s drawing is enriched with more and more new details. Each age is characterized by certain details, and their omission in the drawing is associated with the denial of some functions, with a conflict.

Characters with large dilated eyes are perceived by the child as anxious, restless, in need of being rescued. Characters with eyes "dots" or "slits" carry an internal prohibition on crying, an expression of the need for dependence, they are afraid to ask for help. The character with the biggest ears, more than anyone else, must obey those around him. A character depicted without ears at all may ignore what other people say about him.

Neck symbolizes the ability to rational self-control, control of the mind ("head") over feelings ("body"). The character who has a neck in the drawing is able to control his feelings in the perception of the author of the drawing, but who does not have a neck is not able to. If the neck in the picture is long and thin, then in the mind of the person drawing the conflict between the mind and feelings is resolved through self-withdrawal from the world of one's own strong emotions. on the contrary, if the neck is short and thick, then this character has a harmony between the mind and feelings.

distortion as a child, the images of a person walking along the right side of the drawn character reflect the problems of relationships with the world of social norms and those people who express them for the child. Distortions on the left side of the body reflect the problems of relationships with the closest people in the field of emotional attachments. Breaking the contour literally means the permeability of the corresponding locus of the body to external influences, especially if the contours of other parts of the body are drawn without breaking.

Analysis of the drawing process

When analyzing the drawing process, you should pay attention to:

A) the sequence of drawing family members;

B) the sequence of drawing details;

B) erasure

D) return to already drawn objects, details, figures;

E) spontaneous comments.

The interpretation of the drawing process requires the practical experience of a psychologist, his intuition. Often it is this level of analysis that provides the most meaningful, deep, meaningful information, since changes in thought, actualization of feelings, tension, conflicts lie behind the dynamic characteristics of drawing.

The image of the teeth and the emphasis of the mouth are a sign of oral aggression. If a child draws not himself, but another family member in this way, then this is often associated with a feeling of fear, the perceived hostility of this person to the child.

The child first depicts the main or most significant, emotionally close person. Usually it's the mother. The fact that children are the first to draw themselves indicates their egocentrism as an age characteristic. Based on this, the drawing sequence is more informative in cases where the child draws first not himself and not his mother, but another family member. When a child draws his mother last, this is due to a negative attitude towards her.

The sequence of drawing family members can be more reliably interpreted in the context of analyzing the features of the graphic representation of the figures. If the first drawn figure is the largest, but is drawn schematically, not decorated, then such an image indicates the child's perceived significance of this person, strength, dominance in the family, but does not indicate the child's positive feelings towards him. However, if the first figure is carefully drawn and decorated, then one might think that this is the most beloved member of the family, whom the child reveres and wants to be like.

Usually, children, having received the task of drawing a family, begin to draw family members. Some children first draw various objects, the base line, the sun, furniture, etc. and only in the last place they start depicting people. It is believed that such a sequence of task completion is a kind of defensive reaction, with the help of which the child pushes back the task that is unpleasant for him in time. Most often this is observed in children with a dysfunctional family situation, but it can also be the result of a child's poor contact with a psychologist. There is another opinion that if a child’s drawing shows a lot of inanimate objects and few people, then this does not indicate emotionally poor relationships in the family, but about what these emotions are aimed at. Images of a large number of items related to the same activity emphasizes the special significance of this activity for family members. for example, the abundance of upholstered furniture and the presence of adult characters on it means a special value for this family of rest and relaxation.

The return to drawing the same family members, objects, details indicates their significance for the child.

Pauses before drawing certain details, family members are most often associated with conflict relationships and are an external manifestation of an internal contradiction. At an unconscious level, the child, as it were, decides whether or not to draw a person or a detail associated with negative emotions.

Erasure of the drawn, redrawn can be associated with both negative emotions in relation to the drawn family member, and with positive ones. The final result of the drawing is decisive. If erasing and redrawing did not lead to a noticeably better graphic image, one can judge the conflicting attitude of the child towards this person.

Spontaneous comments of the child often clarify the meaning of the content being drawn, give out the most emotionally “charged” places in the drawing. Therefore, they must be listened to carefully. It is possible that they can help guide both questions after drawing and the process of interpretation itself.

** Other researchers recommend using only a simple pencil for drawing (this way the pressure is better visible) and in no case allow the use of an eraser. “If the child considers that his drawing is completely “spoiled,” notes V.K. Losev, - then, as a last resort, offer him another sheet, and then compare the difference between the first drawing and the second ”(Loseva V.K. Draw a family: Diagnostics of family relations. M., 1995).

Projective methods are the most accurate in psychological diagnostics. The reason for this is the unconscious projection of attitudes and feelings into productive activities. Verbal methods for adults cannot create an objective picture of family relations due to the awareness of the sociality (desirability) of the results. Therefore, the children's test "family drawing" is one of the most accurate methods for determining family relationships through the eyes of a child.

A family consists of several people and a range of relationships. Each member of the family has his own place in it, his own sense of the relationship of those around him and his own attitude towards other members.

The "Family Drawing" test is intended to diagnose family relationships from the perspective of a child. With the help of a family drawing, one can determine the child's attitude towards his parents and other relatives, the peculiarities of self-perception, family problems and sources of psychological discomfort.

Very often it seems to adults that ideal relationships have been created in the family. But the question is not how they build relationships, but how their children perceive it. Often the perception of the family by children and adults not only does not coincide, but is the opposite. Parents should understand that no one aims to "convict" them of a bad attitude towards the child. The family drawing test will help identify problems at the stage of their appearance, which will help to successfully solve them without waiting for the consequences.

The drawing technique can be applied from the moment the child begins to learn to draw. It has absolutely no graphic skills. With the help of simple strokes, details, sizes and arrangements, the child shows the relationship within the family and his place in it.

The test assumes the complete absence of tension in the child. He should just draw, completely immersed in the process. And for this it is necessary that an adult leave the child alone with his work, watching the process from the side (as if doing his own thing).

This technique is especially productive for middle and older preschoolers, when the child does not yet have the ability to design verbal tasks on paper. He, as it were, “draws with his soul” and not with logic or instructions. That is why the results obtained through this technique are considered the most reliable.

Diagnostic procedure

The classic version of the test has two parts: drawing and verbal. Conducting both parts is very important to avoid errors of interpretation.

Materials for research:

• a sheet of white paper (standard A4 sheet);
• six colored pencils: red, black, blue yellow, green, brown;
• eraser.

Research procedure

Eliminate all distractions before conducting research. It is desirable that the child is alone in the room with the researcher. If this is not possible, then ensure its relative isolation.

The child is given the instruction: "Draw your family." At the same time, in no case should the child be explained the meaning of the word “family”, since in this case the essence of the technique will be distorted and a veiled instruction for drawing will be given.

If the child asks again or tries to clarify the task, then you just need to repeat the instructions said earlier, without clarification.

Drawing time is not limited. You cannot interfere with the drawing process. An exception can only be the replacement of a pencil if necessary. Please note that for a replacement, you need to offer a pencil of exactly the same shade as the one that broke.

When completing a task, an adult records the following features in the protocol:

1. The sequence of drawing: where the child started, how the space is filled, and the characters change.
2. Does the child pause, and in what case do they occur.
3. Does he use an eraser, what details can be corrected.
4. Does the child make comments when drawing.
5. Are there emotional reactions to certain parts of the image.
6. Are there any difficulties in depicting individual parts or characters.

The protocol might look like this:

After finishing the drawing, they proceed to the verbal part of the diagnostics. The child is asked questions:

• Who is in your drawing?
• Where are they located?
• What are they doing? Who came up with this?
• Are they happy or sad? Why?
• Who is the happiest person in the picture? Why?
• Who is the most unfortunate? Why?

The last questions touch upon the problems of verbal interpretation of feelings. It should be noted that not every child is able to do this. If the answers are difficult, you do not need to insist.

If it happened that the child did not portray someone from his family, then you need to ask why he did it.

If there are additional details in the drawing (sun, birds, animals), then you need to ask why they are drawn.

After the survey, the child is offered six situations for negative and positive feelings within the family:

1. Let's imagine that you were given two tickets to the circus. Who will you invite with you?
2. Let's imagine that the whole family is invited to visit, but one person is ill and must stay at home. Who is this?
3. Let's imagine that you sculpt from plasticine, but you don't succeed. Who will you call for help?
4. Let's imagine that you have only N tickets (one less than family members) to the cinema. Who will stay at home?
5. Let's imagine that you are on a desert island. Who would you like to be there with?
6. Let's imagine that you were presented with an interesting game. You sat down to play, but one person is superfluous. Who won't play?

All answers are recorded in the protocol. They will help determine the correct interpretation of the children's drawing.

Processing of results and their interpretation

To process the results, the psychologist must have the following information:

• The age of the child;
• The exact composition of his family, including the general composition and those family members with whom he lives.
• Information about the characteristics of the child's behavior: activity, emotionality, aggressiveness, etc.

Drawing analysis consists of several parts:

1. Analysis of the structure of the drawing.
2. Analysis of graphics features.
3. Analysis of the drawing process.

Analysis of the structure of the family drawing and comparison of the composition in the figure with the real composition

The fact of psychological desirability is the drawing of a complete family - this is a sign of family well-being. But this does not always happen. Distortion of the real composition should attract the attention of a psychologist. You need to know that such situations can also be due to the lack of contact between the psychologist and the child. Consider the options for distorting the structure in the family figure (Table 1).

Table 1. Variants of family structure distortion

It is very important for the psychologist to find out the specific images that are missing, present or replaced. It is very important. Since these people can be a source of psychological discomfort.

Analysis of graphic indicators:

• Characteristics of the figures

The largest figure is the most important and authoritative for the child. As a rule, this object is carefully drawn. The most unimportant member of the family is drawn schematically or casually. If the figure is large, but without drawing details, then this means that relations with this relative are tense, although he is important in the family.

• Arrangement of figures

Figures can be close, very close, optimal and far in relation to each other. Being too close to someone indicates control over the child. The optimal distance with the presence of movements indicates a normal intimate relationship. The farther apart the people in the picture, the more distant their contacts in life. The presence of barrier objects between the figures indicates a difficulty in communication.

• Isolation of the closest person

The child draws this figure first, it is larger than the others and is carefully drawn.

• Isolation of the source of anxiety in the family

Such a character stands out with strong shading or pressure on the pencil. Usually, when drawing like this, the pencil can break. The opposite phenomenon can often be observed, when the figure is drawn indistinctly, almost schematically, as if the child is trying to hide this character from the family.

Methodology "Family Drawing"

The essence of the technique:

The child is given a standard sheet of paper, a set of colored pencils (a simple pencil, a pen), they ask: "Draw your family." At the same time, there is no need to remind who is part of the family, let him draw so
as he presents. If a child asks who to draw, give him complete freedom, let him draw at least animals, the drawing will still be quite informative. After finishing drawing, ask leading questions: Who? Where is it drawn? What are family members doing? Who is in what mood? etc.

Interpretation of the results of the methodology

1. After finishing drawing, ask the child “who is who”, who does what.

Clauses like “and I forgot to draw my brother” or “sister didn’t fit” do not matter. If someone from the family is missing in the picture, then this may mean: The presence of negative unconscious feelings for this person. For example, strong jealousy for a younger brother; the child, as it were, argues: “I must love my brother, but he annoys me, this is bad. Therefore, I won’t draw anything at all.”

The complete absence of emotional contact with the “forgotten” person in the drawing. This person, as it were, simply does not exist in the emotional world of the child.

2. The figure is missing the author himself.

Difficulties in relationships with loved ones: “They don’t notice me here”, “I feel rejected”, “It’s hard for me to find my place in the family.” The child is “torn away” from the family: “They don’t accept me, well, don’t, and it’s not bad without them”

3. In the picture - a fictional family member.

The child is trying to fill the vacuum in the feelings that were not received in the family. Children often draw birds, animals that do not actually live in the house, which means that the child longs to be needed and needed by someone, which means that parents do not satisfy the need for love, tenderness, affection.

4. The size of the depicted characters shows their importance to the child. The more authoritative in the eyes of the child the depicted person, the larger he is. Often, young children do not have enough paper to accommodate the entire figure.

5. The size of the child on the sheet.

If the child draws himself very small, located in the corner of the sheet, he has low self-esteem at the moment, or he considers himself the smallest in the family. Children with high self-esteem draw themselves very large, even larger than their parents.

6. Location of the child The figure shows his position in the family. When he is in the center, between mom and dad, or draws himself first, it means that he feels needed and necessary in the house. If a child portrayed himself separately from the rest, or painted himself last, this is a sign of jealousy, trouble.

7. Distance between pictures indicate emotional closeness or, conversely, disunity. The farther the figures are located from each other, the greater their emotional disunity. In some drawings, children emphasize the disunity they feel by including various objects (furniture, vases), alien, imaginary people in the free space between family members. With emotional closeness, relatives are drawn almost close to each other, they touch with their hands. The closer the child portrays himself to any member of the family, the higher his degree of attachment to this person and vice versa.

8. The sequence of images of family members.

Usually, the first child draws either himself, or the most beloved family member, or the most significant, authoritative, according to the baby, person in the family. Usually the most recent relative drawn has the lowest authority (this could be the child itself).

9. Arrangement of figures on the sheet.

Carefully consider who is higher in the figure, who is lower. The highest is the character who, according to the child, has the greatest significance in the family (even if he is small in size). For example, if a TV or a six-month-old sister is shown on the sheet above all, then it means that in the mind of the child it is they who “control” the rest of the family

10. The character or object that causes the greatest anxiety in the child.

It is depicted with increased pencil pressure, or heavily shaded, its outline is outlined several times, but it happens that a child draws such a character with a barely noticeable, “trembling” line.

11. Parts of the body. Head.

It is an important and most valuable part of the body. Mind, skill - in the head. The most intelligent, thinking member of the family, the child depicts a big one.

Eyes.

Not only for viewing, they betray sadness. Characters with large dilated eyes are perceived by the child as anxious, restless, in need of help. Characters with “point” eyes or “slit” eyes carry an internal prohibition on crying (i.e., a person is closed, subconsciously or consciously does not show his emotions, often negative ones).

Ears.

This is the organ of perception of criticism and, in general, any information about oneself. Characters with big ears obey others. If there are no ears at all, a person does not listen to anyone, ignores what they say about him.

Mouth.

In the figure, the mouth is the “organ of attack”, the mouth expresses aggression, swears, bites, takes offense. A character with a large or/and shaded mouth is perceived as a source of threat. If there is no mouth at all, it is depicted as a dot, a dash - a person hides his feelings, cannot express them in words or influence others.

Neck.

It symbolizes the ability of the head to control the senses. The character who has a neck is able to control his feelings (more often it is an adult).

Hands.

The function of the hands is to cling to, join, interact with people around, i.e. ability to act. The more fingers on the hands, the stronger the character. The length of the arms speaks of sociability, short arms give out inner weakness, indecision, lack of communication

Legs.

Needed for walking, for support, for freedom of movement. The larger the area of ​​support at the feet, the more firmly and confidently the character stands on the ground. The right leg symbolizes support in extra-family reality, the left - in the family

12. The color scheme of the picture - indicator of the palette of feelings. With the most beloved colors, the child draws the closest family members, himself, unloved, gloomy colors go to people rejected by the child. Pay attention to the general color palette: the predominance of bright colors indicates a good mood, while gloomy colors indicate anxiety, depression (unless, of course, black is not a favorite color).
for baby). Mothers are usually depicted in beautiful dresses, with
hair clips, with many small details, hair color can be the most unusual, details are carefully drawn, so the child shows his love. Children with adequate self-esteem also carefully draw themselves, dress smartly. Beloved dads are also very smart, like all relatives close and loved by the child.

13. The child draws only himself, “forgetting” to draw everyone else, this often indicates that he does not feel like a member of the family. The child is rejected in the family, troubles and emotional problems put pressure on him. The figure may be small, "hidden" in the corner of the sheet, dark, with a blurred face. But it happens that a child with high self-esteem draws only himself to emphasize his importance. He carefully draws the details of clothing, face; the figure is very large, bright.

14. The sun in the picture - a symbol of protection and warmth. People and objects that are between the child and the sun are what prevents you from feeling protected, using energy and warmth.

15. An abundance of small details, closed parts (scarves, buttons) signal prohibitions, secrets to which the child is not allowed