A simple and easy test that will not take you much time. At the end, you will learn about those features of your character that were previously unknown to you.
First, take a blank sheet of paper and a pencil, then draw a house. What will he be like? Surely, you have your own individual “template” for drawing a house. Here, draw it. In order to get results, a few strokes will be enough. After that, put down your pencil, find in the list below the characteristic of the house that matches your drawing and read about your character.
House types
city house
The person who painted the multi-story building is the owner of a very complex character. Most likely, he is distinguished by isolation and a tendency to focus on his own problems.
low house
Rest, peace, harmony and pleasant memories - this is what a person who has drawn a low house needs.
The fatigue accumulated over the years of hard work makes itself felt, therefore, in order not to undermine your own health, it is better to go on vacation for at least 2-3 weeks.
Lock
Complete frivolity, frivolity and childishness distinguish the person who painted the castle.
Of course, there is nothing wrong with this, especially for the fairer sex.
The main thing is not to take on the burden of responsibility in the form of a family or a responsible post, otherwise you may not be able to cope with your responsibilities.
Spacious country house
Such a drawing means that its author has a need to deal with the housing issue, for example, buying a new apartment or house. For bachelors and childless persons, such a drawing should tell about a hidden need for love and a home, where a large and friendly family gathers.
Big house behind a high fence
The person who painted the house with a high fence can be judged by the latter: the more impregnable the fence, the more closed the character. If the house is surrounded by a hedge of picturesque bushes, this indicates gullibility and sociability.
This projective personality research methodology 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 gulf between real life and life in fantasy.
"ROOF" ^
The roof is a realm of fantasy. The roof and chimney torn off by the wind symbolically express the feelings of the subject that they are commanded, regardless of their own willpower.
Roof, thick outline, uncharacteristic of the drawing - fixation on fantasies as a source of pleasure, usually accompanied by anxiety.
The roof, the thin contour of the edge - the experience of weakening the control of fantasy.
Roof, thick outline of the edge - excessive concern for control over fantasy (curbing it).
A roof that is poorly combined with the lower floor is a bad personal organization.
The roof cornice, its accentuation with a bright contour or extension beyond the walls, is a heavily protective (usually suspicious) installation.
"ROOM" ^
Associations may arise in connection with:
1) the person living in the room,
2) interpersonal relationships in the room,
3) the purpose of this room (real or attributed to it).
Associations can have a positive or negative emotional connotation.
Room that did not fit on the sheet - the unwillingness of the subject to depict certain rooms due to unpleasant associations with them or with their 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 a strong desire to protect themselves with protective barriers.
The bushes are randomly scattered around the space or on both sides of the path - a slight anxiety within reality and a conscious desire to control it.
The path, well proportioned, easily drawn, shows that the individual, in contacts with others, exhibits tact and self-control.
The path is very long - reduced availability, often accompanied by a need for more adequate socialization.
The path is very wide at the beginning and narrows a lot 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 - the larger the picture above the center, the more likely it is that:
1) the subject feels the severity of the struggle and the relative unattainability of the goal;
2) the subject prefers to seek satisfaction in fantasies (internal tension);
3) the subject tends to stay away.
Placing the picture exactly in the center of the sheet - insecurity and rigidity (straightness). The need for careful control 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 a literary or fairy tale plot
7. The presence of windows and their number
8. The presence of doors
9. Chimney with smoke
10. Shutters on the windows
11. Window size
12. 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 too large - a strong need for better adaptability in social relationships with a sense of inadequacy and a tendency to impulsive behavior.
Lack of hands - a feeling of inadequacy with high intelligence.
Deformation or 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 the sides - difficulties in social contacts, fear of aggressive impulses.
Strong hands - aggressiveness, energy.
Hands are thin, weak - a feeling of insufficiency of what has been achieved.
Hand like a boxing glove - repressed aggression.
Hands behind 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.
A robot instead of a male figure - depersonalization, a feeling of external controlling forces.
Figure of sticks - can mean evasion and negativism.
The figure of Baba Yaga is open hostility towards women.
Clown, caricature - a feeling of inferiority inherent in adolescents. Hostility, 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, "the boy is skating on thin ice." The base is often drawn under a house or a tree, less often under a person.
The weapon is aggression.
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.
The ability to critically evaluate a drawing when asked to criticize it is the criteria for unlost contact with reality.
Acceptance of the task with minimal protest is a good start, followed by fatigue and interruption in drawing.
Apologizing because of the drawing is a lack of confidence.
In the course of drawing, the pace and productivity decrease - rapid exhaustion.
The name of the drawing is extraversion, need and support. Pettiness.
The left half of the figure is underlined - identification with the female gender.
Persistently draws, despite the difficulties - a good forecast, vigor.
Resistance, refusal to draw - hiding problems, unwillingness to reveal oneself.
"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 indicated by a line - childish behavior in relation to what is kept secret.
Roots in the form of two lines - the ability to distinguish and prudence in assessing the real; the various form of these roots may be associated with the desire to live, to repress or express certain tendencies in an unfamiliar circle or close environment.
Symmetry is the desire to appear in harmony with the outside world. A marked tendency to restrain aggressiveness. Hesitation in choosing a position in relation to feelings, ambivalence, moral problems.
The arrangement on the sheet is dual - the attitude to the past, to what the drawing depicts, i.e. to your action. Double desire: independence and protection within the environment.
The central position is the desire to find agreement, balance with others. 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 the inner world.
The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.
The trunk is limited from below - a feeling of unhappiness, a search for support.
The trunk expands downward - the search for a reliable position in its circle.
The trunk tapers downward - a sense of security in a circle that does not give the desired support; isolation and the desire to strengthen one's "I" against a restless world.
The overall height - the bottom quarter of the sheet - dependence, lack of faith in oneself, compensatory dreams of power.
The lower half of the leaf is less dependent and timid.
Three-quarters of a leaf is a good adaptation to the environment.
The sheet is used in its entirety - it wants to be noticed, to count on others, to assert itself.
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 the position on the sheet and other points of interpretation).
Adding various objects to the tree is interpreted depending on specific objects.
Landscape - means sentimentality.
Turning the leaf - independence, a sign of intelligence, prudence.
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.
Methodology "HOUSE - WOOD - PERSON" J. Book.
Projective method of personality research. It was proposed by J. Book in 1948. The test is intended for examination of both adults and children, a group examination is possible.
The subject is asked to draw a house, a tree and a person. Then a detailed survey is conducted. The author substantiates the choice of objects for drawing by the fact that they are familiar to every subject, are most convenient as objects for drawing, and, finally, stimulate freer verbal expressions than other objects.
According to J. Book, each drawing is a kind of self-portrait, the details of which have a personal meaning.
From the drawing, one can judge the affective sphere of the personality, its needs, the level of psychosexual development, etc. In addition to using the test as a projective technique, the author demonstrates the ability to determine the level of intellectual development (the rank correlation coefficient with intelligence tests is 0.41-0.75) . Foreign researchers declare the need for additional study of the validity of the methodology as a tool for measuring intelligence and personality traits. The test is used in Russia, included in the Kern-Jerasek method.
Instruction
Material:
* a white sheet of paper folded in half and thus forming 4 pages measuring 15x21. The first page is intended to record the date and record the necessary data regarding the subject, the next three pages are reserved for drawings and are respectively entitled House, Tree, Man;
* post-drawing survey form;
* several simple pencils No. 2 with erasers (pencil No. 2 was chosen, as it turned out that it more accurately reflects the subject's motor control, pressure and quality of lines and shading);
* form of quantitative processing;
* management.
Individual testing
During individual testing, the researcher places a picture form in front of the subject, so that he sees only the second page with the inscription "House", located at the top from the point of view of the subject; and then says the instruction:
“Take one of these pencils. I want you to draw the house as best you can. You can draw any type of house you want. This is entirely up to you to decide. You can erase the drawing as much as you like - this will not affect your score. You can think about the drawing for as long as you need. just try to draw the house as best you can."
If the subject expresses refusal (middle-aged and elderly people often do this), stating that he is not an artist, that when he went to school they did not teach him how to draw as they do now, etc., the researcher must convince the subject that DDT is not a test of artistic ability, in that it is not interested in the ability of the subject to draw as such. If the subject asks for a ruler or tries to use an object as a ruler, the researcher should tell him that the drawing must be done by hand. This is followed by similar instructions regarding tasks related to drawings of a tree and a human figure.
Record.
While the subject is drawing a house, a tree, and a person, the researcher must write down each time;
1) the following aspects regarding time: (a) the amount of time elapsed from the moment the researcher gave the instruction to the moment the subject began to draw; (b) the duration of any pause that occurs in the process of drawing (correlating it with the execution of a particular detail); (c) the total time spent by the subject from the moment when he was given the instruction until he reported that he had completely finished the drawing (for example, at home);
2) the names of the details of the drawings of a house, a tree and a person, in the order in which they were drawn by the subject, numbering them sequentially. Deviations from the sequence of depicting details that occur in the work of well-adjusted subjects usually turn out to be significant; an accurate record of such a case is necessary, since the omission of the examiner's deviation from the attention of the researcher may prevent a sufficiently high-quality assessment of the completed drawing as a whole;
3) all spontaneous comments (if possible verbatim) made by the subject in the process of drawing a house, a tree and a person and correlate each such comment with a sequence of details. The process of drawing these objects may give rise to comments that at first glance are completely inconsistent with the objects depicted, which, nevertheless, can provide a lot of interesting information about the subject;
4) any emotion (the most insignificant) shown by the subject during the test and associate this emotional expression with the detail depicted at that moment. The process of drawing often causes strong emotional manifestations in the subject and these should be recorded.
To keep records more successfully, the researcher must make sure that he can easily observe the drawing process. It was noted that the most convenient position for the researcher is to the left of the right-handed subject and to the right of the subject if he is left-handed. However, in some cases the subjects may be very anxious or very suspicious and will hide their drawings, in such cases it is best not to insist that they allow the researcher to observe the drawing process.
To make it easier to record sequences of detail, spontaneous comments, etc., the researcher can use the recording system below as an example.
House
2. Window with glass on the roof.
3. Roof over the porch (main wall) - "I can take the tools and do it much better" (tense laughter).
4. Porch posts.
6. Window, top right, with glass.
7. Window, lower left, with glass.
8. Window, top center, with glass.
9. Windows (left and right) on the sides of the door, with glass.
10. Window, upper left, with glass.
11. Top window in the center, with glass.
12. Roof material.
13. Roof of the side porch and pillar.
14. "Perhaps this is all that could be drawn, except for the garage."
15. Foundation.
16. Pause 18 sec.
17. "A couple of trees."
18. Tree on the left, then tree on the right.
19. Road from the side porch.
20. Walkway from the front entrance.
21. "Let's allow it here" - a bush.
Time - 5 min 13 s
If the task was preceded by a pause, this should be recorded under item 1, and the first detail drawn in this case is recorded under number 2, etc.
The relationship of spontaneous utterances and/or expression of emotions with the details of the drawing is determined by the position of the spontaneous utterance and/or emotional manifestation in the recorded material. For example, if a spontaneous statement or emotion was written before a detail, but under one item, it means that it took place at the time when the subject began to draw this detail. If a comment or emotion was written under the same paragraph with a detail, but after it, then this happened later. If, apart from a spontaneous statement or emotion, nothing is written in the paragraph, then this happened after the previous detail was completed, and before the next one was started.
Post-drawing survey.
After the non-verbal phase of the DDS is completed, the researcher should offer the subject the opportunity to characterize, describe and interpret the drawn objects and their surroundings, as well as express associations associated with them. He must also take into account the fact that the process of drawing a house, a tree, and a person often evokes strong emotional reactions, so that after completing the drawings, the subject is likely to verbalize what he has not been able to express until now. Clearly, if the subject is less withdrawn and hostile and more intelligent, the second phase of the DD can be more productive.
The questionnaire, consisting of 64 questions, has a "spiral" structure, the purpose of which is to avoid formalized answers from the subject and prevent memorization of what he said earlier in connection with a specific picture. Direct and concrete questions are replaced by more indirect and abstract ones.
PRO is not a rigidly limited procedure, the researcher can always continue the survey in a way that is productive in his opinion. In all cases, he must determine exactly what meaning the stimulus words "House", "Tree" and "Man" have for the subject.
Post Drawing Survey Form
Ch1. Is it a man or woman (boy or girl)?
Ch2. How old is he/she?
Ch3. Who is he?
Ch4. Is it your relative, friend or someone else?
Ch5. What were you thinking about when you drew?
CH6. What is he doing? (Where is he at this time?)
Ch7. What is he thinking about?
CH8. What does he feel?
CH9. What does the drawn person make you think?
Ch10. Who does this person remind you of?
Ch11. Is this person healthy?
Ch12. What exactly in the picture makes such an impression on you?
Ch13. Is this person happy?
Ch14. What exactly in the picture makes such an impression on you?
CH15. What do you feel about this person?
CH16. Do you think this is typical for most people? Why?
CH17. What do you think the weather is like in the picture?
CH18. Who does this person remind you of? Why
CH19. What does a person want the most? Why?
Ch20. How is this person dressed?
Dr1. What is this tree?
Dr2. Where is this tree actually located?
Dr3. What is the approximate age of this tree?
Dr4. Is this tree alive?
A. (If. the subject believes that the tree is alive)
a) What exactly in the picture confirms that the tree is alive?
b) Does the tree have some dead part? If there is, which one?
c) What do you think caused the death of the tree?
d) When do you think this happened?
B. (If the subject believes that the tree is dead)
a) What do you think caused the death of the tree?
b) When do you think this happened?
Dr6. Who do you think this tree looks more like, a man or a woman?
Dr7. What exactly in the picture confirms your point of view?
Dr8. If there were a person here instead of a tree, in which direction would he look?
Dr9. Is this tree standing alone or in a group of trees?
Dr10. When you look at a drawing of a tree, do you think it is above you, below you, or on the same level as you?
Dr11. What do you think the weather is like in this picture?
Dr12. Is there wind in the picture?
Dr13. Show me which direction the wind is blowing?
Dr14. Tell me more, what kind of wind is this?
Dr15. If you were to draw the sun in this picture, where would it be located?
Dr16. Do you think the sun is in the north, east, south or west?
Dr17. What does this tree make you think of?
Dr18. What does it remind you of?
Dr19. Is this tree healthy?
dr20. What exactly in the picture makes such an impression on you?
Dr21. Is this tree strong?
Dr22. What exactly in the picture makes such an impression on you?
Dr23. Who does this tree remind you of? Why?
Dr24. What does this tree need the most? Why?
Dr25. If instead of a bird (another tree or other object in the figure that is not related to the main tree), there was a person, then who could it be?
D1. How many floors does this house have?
D 2. Is this house brick, wooden or something else?
DZ. Is this your house? (If not, whose is it?)
D4. When you drew this house, who did you imagine as its owner?
D5. Would you like this house to be yours? Why?
D6. If this house were yours and you could dispose of it as you want:
a) Which room would you choose for yourself? Why?
b) With whom would you like to live in this house? Why?
D 7. When you look at a drawing of a house, does it seem close to you or far away?
D8. When you look at a drawing of a house, does it seem to you that it is located above you, below you, or approximately on the same level as you?
D9. What does this house make you think about?
D10. What does it remind you of?
D11. Is this house welcoming, friendly?
D12. What exactly in the picture makes such an impression on you?
D13. Do you think that these qualities are common to most houses? Why?
D14. What do you think the weather is like in this picture?
D15. What does this house make you think of? Why?
D16. What does this house need the most? Why?
D17. Where does this chimney lead?
D18. Where does this path lead?
D19. If instead of a tree (a bush, a windmill, or any other object in the picture that has nothing to do with the house itself) there was a person, then who could it be?
At the end of the post-drawing survey, the researcher will have to find out the possible significance that the presence of unusual, the absence of “obligatory” details in the drawings, any unusual proportional, spatial or positional relationships between the drawn objects or their fragments may have for the subject.
For example, the researcher should ask the subject about the meaning of such unusual details in the drawing of a house as broken glass, a leaky roof, a collapsed chimney, etc., scars, broken or dead branches, shadows, etc. - in a drawing of a tree. It is generally accepted, for example, that scars on a tree trunk, broken or damaged branches, almost invariably symbolize "mental wounds" - a consequence of psychological trauma suffered by the subject in the past; the time when the traumatic episode (episodes) occurred can be determined by the location of the scar on the trunk, taking the base of the trunk (its part closest to the ground) for the period of early childhood, the top of the tree - for the present age of the subject, and the distances between them - for intermediate years. For example, if a 30-year-old subject drew a scar about one third of the trunk from its base, then the traumatic episode could presumably occur at the age of 9-11. The researcher may ask, "What unusual thing happened to you when you were about 10 years old?" It is assumed that the subject can reflect in the picture only those events that he himself regards as traumatic, although from an objective point of view, completely different situations may turn out to be traumatic. It is believed that the image of the shadow in the figure is of great importance and can be: 1) a symbol of the feeling of anxiety experienced by the subject at the conscious level; 2) the presence of a factor that, by its constant presence in the psychological present or in the recent past, probably interferes with normal intellectual performance. We are talking about the conscious level, because usually the shadows are depicted on the ground, which symbolizes reality. The deterioration of intellectual performance is confirmed by absent-mindedness; the shadow implies the subject's awareness of the existence of another element - the sun, which is usually forgotten to draw, this, in turn, has a certain qualitative value. The researcher needs to pay attention to which surface the shadow falls on: water, earth, snow or ice ...
In addition, he must find out the possible significance of scars or mutilations in a drawing of a person.
The researcher should try to get from the subject an explanation for the absence of ordinary details - windows, doors or a chimney in the drawing of the house; branches in the drawing of a tree; eyes, ears, mouth, feet, etc. in a drawing of a person - in the event that the assumption of mental retardation of the subject is unfounded.
If some unusual positional relations of objects are noted in the figure, then it is necessary to determine what caused this. For example, if a rickety house is drawn, a tree leaning to one side or a tree with a twisted trunk, or a person as if falling, the researcher should ask the subject to explain the reason for this situation. As mentioned above, in the drawing of a tree, each side has its own temporary meaning (the right side is the future, the left is the past), the same, although not so definitely, can be said about the drawing of the House. However, it turned out that this rule does not apply to a drawing of a person, because - if we talk about a drawing of a person in profile - a right-handed person usually draws a figure facing left, and a left-hander - facing right.
The researcher should try to establish the reasons for any unusual position of the hands or feet of the drawn person. If a person is drawn in an absolute profile (i.e., so that only one side of him is visible, and there are no signs of the existence of the other), the researcher should ask the subject to describe: 1) the position of the invisible hand, 2) if there is anything in this hand, what exactly, 3) what the drawn person does with this hand.
The time of the post-drawing survey is not limited. However, if the examination is prolonged and its volume exceeds the volume of the formal part (64 questions and the additional survey given above), then its completion is probably better to be postponed to the next session.
It was found that sometimes it is very useful to let the subject express his associations regarding the content of the drawings and the PRO.
In conclusion, we can say that PRO has 2 goals: 1) to create favorable conditions for the subject, describing and commenting on the drawings personifying a dwelling, an existing or once existing object and a living or once lived person, could reflect his feelings, relationships, needs etc.; 2) provide the researcher with an opportunity to clarify any unclear aspects of the drawings.
Group testing
Ceteris paribus, the DDS method is more productive in individual testing than in group testing. However, it is obvious that this technique has a certain position among group tests. As such, it is best used as a screening test to identify within a group of subjects who deviate from the average level of personal development and adaptability. In addition, the technique can be used to determine the degree of recovery in the process of group therapy, but from this side it has not yet been sufficiently studied.
Instructions.
Before starting the task, the researcher should ask the subjects to draw the best possible house, tree and person in the listed order and tell them that they can erase my drawing as much as they want, without fear of penalties, that they can spend as much time as they need, and that each one, as soon as he finishes this or that drawing, must report it to the researcher, so that he can record the amount of time spent.
In some cases, it may be necessary to impose a certain time limit (preferably at least 30 minutes), in which case the subjects should be fully informed of this before they begin to draw.
The researcher must show the subjects a drawing form and show them each page to complete the corresponding drawing. After that, they can start the task.
Record.
The researcher should record the time used by each subject to complete a particular drawing. While the subjects are busy drawing, the researcher should walk about unobtrusively, observing them, and record instances of emotional manifestations, unusual sequences of details, etc., whenever he notices anything of the kind. Obviously, the observation will not be as complete as with individual examinations.
Post-drawing survey.
The researcher should give each subject a form with PRO and ask them to answer in writing the questions printed on this form.
Interpretation.
The house is old, collapsed - sometimes the subject in this way can express his attitude towards himself.
Home away - a feeling of rejection (rejection).
Home near - openness, accessibility and (or) a sense of warmth and hospitality.
The plan of the house (projection from above) instead of the house itself is a serious conflict.
Miscellaneous buildings - aggression directed against the actual owner of the house or rebellion against what the subject considers artificial and cultural standards.
Shutters closed - subject is able to adjust in interpersonal relationships.
Steps leading to a blank wall (without doors) are a reflection of a conflict situation that is detrimental to a correct assessment of reality. The inaccessibility of the subject (although he himself may desire free cordial communication).
Walls
The back wall, located unusually - conscious attempts at self-control, adaptation to conventions, but at the same time, there are strong hostile tendencies.
The contour of the back wall is much brighter (thicker) compared to other details - the subject seeks to maintain (not lose) contact with reality.
The wall, the absence of its base is a weak contact with reality (if the drawing is placed below).
A wall with an accentuated contour of the base - the subject is trying to displace conflict tendencies, experiencing difficulties, anxiety.
A wall with an accentuated horizontal dimension is a poor orientation in time (the dominance of the past or the future). It is possible that the subject is sensitive to environmental pressure.
Wall; the lateral contour is too thin and inadequate - a premonition (threat) of a catastrophe.
Wall: the contours of the line are too accentuated - a conscious desire to maintain control.
Wall: 1D perspective - only one side shown. If it is a side wall, there are serious tendencies towards alienation and opposition.
Transparent walls - unconscious attraction, the need to influence (own, organize) the situation as much as possible.
A wall with an accentuated vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.
doors
Their absence - the subject has difficulty in trying to open up to others (especially in the home circle).
Doors (one or more), rear or side - retreat, detachment, avoidance.
The doors are open - the first sign of frankness, reachability.
The doors are open. If the house is residential - this is a strong need for warmth from the outside or the desire to demonstrate accessibility (frankness).
Side doors (one or more) - alienation, solitude, rejection of reality. Significant inaccessibility.
The doors are very large - excessive dependence on others or the desire to surprise with your social sociability.
The doors are very small - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecisiveness in social situations.
Doors with a huge lock - hostility, suspiciousness, secrecy, protective tendencies.
The smoke is very thick - significant internal stress (intensity according to the density of the smoke).
Smoke in a thin stream - a feeling of lack of emotional warmth at home.
Window
The first floor is drawn at the end - disgust for interpersonal relationships. Tendency to isolate from reality.
The windows are very open - the subject behaves somewhat cheekily and straightforwardly. A lot of windows show readiness for contacts, and the absence of curtains - the lack of desire to hide their feelings.
The windows are closed (curtained). Preoccupation with interaction with the environment (if it is significant for the subject).
Windows without glass - hostility, alienation. The absence of windows on the ground floor - hostility, alienation.
There are no windows on the lower floor, but there are on the upper floor - the gulf between real life and life in fantasy.
Roof
The roof is a realm of fantasy. The roof and chimney torn off by the wind symbolically express the feelings of the subject that they are commanded, regardless of their own willpower.
Roof, bold outline, uncharacteristic of the drawing - fixation on fantasies as a source of pleasure, usually accompanied by anxiety.
The roof, the thin contour of the edge - the experience of weakening the control of fantasy.
Roof, thick outline of the edge - excessive concern for control over fantasy (curbing it).
A roof that is poorly combined with the lower floor is a bad personal organization.
The cornice of the roof, its accentuation with a bright contour or extension beyond the walls, is a heavily protective (usually suspicious) installation.
Room
Associations may arise in connection with:
1) the person living in the room,
2) interpersonal relationships in the room,
3) the purpose of this room (real or attributed to it).
Associations can have a positive or negative emotional connotation.
Room that did not fit on the sheet - the unwillingness of the subject to depict certain rooms due to unpleasant associations with them or with their tenant.
Subject selects nearest room - suspiciousness.
Bath - performs a sanitary function. If the manner in which the bathtub is depicted is significant, these functions may be impaired.
Pipe
Lack of a pipe - the subject feels a lack of psychological warmth at home.
The pipe is almost invisible (hidden) - unwillingness to deal with emotional influences.
The pipe is drawn obliquely with respect to the roof - the norm for a child; significant regression if found in adults.
Drainpipes - enhanced protection and usually suspiciousness.
Water pipes (or drainpipes from the roof) - reinforced protective installations (and usually increased suspiciousness).
Add-ons
The transparent, "glass" box symbolizes the experience of exposing yourself to everyone. He is accompanied by a desire to demonstrate himself, but limited to only visual contact.
The test "House - Tree - Man" was proposed by J. Book in 1948 and is a projective method for studying personality. It is intended for both adults and children, and can also be used when conducting a group survey.
The subject is asked to draw a house, a tree and a person. Then a detailed survey is conducted. The author substantiates the choice of objects for drawing by the fact that they are familiar to every subject, are most convenient as objects for drawing, and, finally, stimulate freer verbal expressions than other objects.
When using the "House - Tree - Man" test, R. Burns always asked his subjects to depict a tree, a house and a person in one ongoing scene, in one drawing. He believed that the interaction between a house, a tree and a person is a visual metaphor. If you bring the whole drawing into action, you can see what is really happening in our lives.
A special way of interpretation may be the order in which the drawing of the house, the tree, and the person is done. If a tree is drawn first, then the main thing for a person is life energy. If the house is drawn first, then in the first place is safety, success, or, conversely, the neglect of these concepts.
Instructions for the test
“Take one of these pencils. I want you to draw the house, the tree and the person as best as possible. You can draw them however you like. You can erase the drawing as much as you like. You can also think about the drawing for the amount of time you need. All this will not affect your assessment in any way. Try to draw the house, the tree and the person as best you can, in all the important, in your opinion, details and details.
The subject may express refusal. This behavior is typical for a person of middle and old age. Usually it is accompanied by statements like: “I am not an artist”, “I can’t draw”, “I didn’t have such a subject as drawing at school”, “I always got negative marks in drawing”, etc.
In this case, the researcher needs to convince the subject that the House-Tree-Man test is not a test of artistic ability, that you are interested in something other than the subject's ability to draw. If the subject asks for a ruler or tries to use some kind of improvised object as a ruler, tell him that the drawing must be done by hand.
During the test "House - Tree - Man"
important to write:
1) all aspects and nuances related to the time factor:
a) the amount of time elapsed from the moment the researcher gave instructions to the moment the subject began to draw;
b) the duration of any pause that occurs during the drawing process;
c) the total time spent by the subject from the moment when he was given the instruction until he reported that he had completely finished the drawing;
2) the names of the details of the drawings of a house, a tree and a person in the order in which they were drawn by the subjects, numbering them sequentially; deviations from the sequence of the image of details are usually significant; an accurate record of such a case is necessary, as it can help to better evaluate the completed drawing;
3) all spontaneous comments made by the subject in the process of drawing a house, a tree and a person in conjunction with the sequence of drawn details; the process of drawing these objects may cause comments that, at first glance, do not correspond at all to the objects depicted, however, they can provide a lot of useful information about the subject;
4) any emotion shown by the subject during the test in connection with the detail depicted at that moment; the process of drawing often causes strong emotional manifestations in the subject and these should be recorded.
To keep records more successfully, the researcher needs to make sure that the process of drawing can be observed freely and unhindered. It was noted that the most convenient position for the researcher is to the left of the right-handed subject and to the right of the subject if he is left-handed. However, in some cases the subjects may be very anxious or very suspicious, which will force them to hide their drawings, in such cases it is best not to insist that they allow the researcher to observe the drawing process.
Post-drawing survey for the test "House - Tree - Man"
After the non-verbal phase of the House-Tree-Person test is completed, the researcher must offer the subject the opportunity to characterize, describe and interpret the drawn objects and their surroundings, as well as express associations associated with them. It is important to take into account the fact that the process of drawing a house, a tree and a person often evokes strong emotional reactions, after completing the drawings, the subject is likely to verbalize what he could not express until now.
The post-drawing survey of the House-Tree-Man test, consisting of 64 questions, has a "spiral" structure, the purpose of which is to avoid formalized answers from the subject and prevent memorizing what he said earlier in connection with a particular picture. Direct and concrete questions are replaced by more indirect and abstract ones.
Post-drawing survey is not a strictly limited procedure, the researcher can always continue the survey in a productive way, in his opinion. In all cases, he must determine exactly what meaning the stimulus words "House", "Tree" and "Man" have for the subject.
Questions of the post-drawing survey for the test
Questions for a drawing about a person:
Ch1. Is it a man or woman (boy or girl)?
Ch2. How old is he/she?
Ch3. Who is he?
Ch4. Is it your relative, friend or someone else?
Ch5. Who were you thinking about when you drew?
CH6. What is he doing? (Where is he at this time?)
Ch7. What is he thinking about?
CH8. What does he feel?
CH9. What does the drawn person make you think about?
Ch10. Whom does this person remind you of?
Ch11. Is this person healthy?
Ch12. What exactly in the picture makes such an impression on you?
Ch13. Is this person happy?
Ch14. What exactly in the picture makes such an impression on you?
CH15. What do you feel about this person?
CH16. Do you think this is typical for most people? Why?
CH17. What do you think the weather is like in the picture?
CH18. Who does this person remind you of? Why?
CH19. What does a person want the most? Why?
Ch20. How is this person dressed?
Questions for the drawing about the tree:
Dr1. What is this tree?
Dr2. Where is this tree actually located?
Dr3. What is the approximate age of this tree?
Dr4. Is this tree alive?
Dr5.
A. (If the subject believes that the tree is alive)
a) What exactly in the picture confirms that the tree is alive?
b) Does the tree have some dead part? If there is, which one?
c) What, in your opinion, caused the death of the tree?
d) When do you think this happened?
B. (If the subject believes that the tree is dead)
a) What do you think caused the death of the tree?
b) When do you think this happened?
Dr6. Who do you think this tree looks more like, a man or a woman?
Dr7. What exactly in the picture confirms your point of view?
Dr8. If there were a person here instead of a tree, in which direction would he look?
Dr9. Is this tree standing alone or in a group of trees?
Dr10. When you look at a drawing of a tree, do you think it is above you, below you, or on the same level as you?
Dr11. What do you think the weather is like in this picture?
Dr12. Is there wind in the picture?
Dr13. Show me which direction the wind is blowing?
Dr14. Tell me more, what kind of wind is this?
Dr15. If you were to draw the sun in this picture, where would it be located?
Dr16. Do you think the sun is in the north, east, south or west?
Dr17. What does this tree make you think of?
Dr18. What does it remind you of?
Dr19. Is this tree healthy?
dr20. What exactly in the picture makes such an impression on you?
Dr21. Is this tree strong?
Dr22. What exactly in the picture makes such an impression on you?
Dr23. Who does this tree remind you of? Why?
Dr24. What does this tree need the most? Why?
Dr25. If instead of a bird (another tree or other object in the figure that is not related to the main tree), there was a person, then who could it be?
Questions for the drawing about the house:
D1. How many floors does this house have?
D 2. Is this house brick, wooden or something else?
DZ. Is this your home? (If not, whose is it?)
D4. When you drew this house, who did you imagine as its owner?
D5. Would you like this house to be yours? Why?
D6. If this house were yours and you could dispose of it as you want:
a) Which room would you choose for yourself? Why?
b) With whom would you like to live in this house? Why?
D 7. When you look at a drawing of a house, does it seem to you close or far away?
D8. When you look at a drawing of a house, does it seem to you that it is located above you, below you, or approximately on the same level as you?
D9. What does this house make you think about?
D10. What does he remind you of?
D11. Is this house welcoming, friendly?
D12. What exactly in the picture makes such an impression on you?
D13. Do you think that these qualities are common to most houses? Why?
D14. What do you think the weather is like in this picture?
D15. What does this house make you think of? Why?
D16. What does this house need the most? Why?
D17. Where does this chimney lead?
D18. Where does this path lead?
D19. If instead of a tree (a bush, a windmill, or any other object in the picture that has nothing to do with the house itself) there was a person, then who could it be?
Features of conducting a post-drawing survey
Upon completion of the post-drawing survey, the researcher will have to find out the possible significance that the presence of unusual or the absence of “mandatory” details in the drawings, the ratio of any unusual proportional, spatial or positional relationships between the drawn objects or their fragments may have for the subject.
For example, the researcher needs to ask the subject about the meaning of such unusual details in the drawing of a house as broken glass, a leaky roof, a collapsed chimney, etc.; in the drawing of a tree - scars, shadows, broken or dead branches, etc.
It is generally accepted, for example, that scars on a tree trunk, broken or damaged branches, almost invariably symbolize "mental wounds" - a consequence of psychological trauma suffered by the subject in the past. The time when the traumatic episode occurred can be determined by the location of the scar on the trunk, taking the base of the trunk at the roots of the tree for the period of early childhood, the top of the tree as the present age of the subject, and the distances between them as intermediate years.
For example, if a 30-year-old subject drew a scar about one third of the trunk from its base, then the traumatic episode could presumably occur at the age of 9-11. The researcher may ask, "What unusual thing happened to you when you were about 10 years old?"
It is believed that the image of the shadow in the figure is of great importance and can represent:
1) symbolizing the feeling of anxiety experienced by the subject at a conscious level;
2) the presence of a factor that, by its constant presence in the psychological present or in the recent past, probably interferes with normal intellectual performance.
We are talking about the conscious level, because usually the shadows are depicted on the ground, which symbolizes reality. The deterioration of intellectual performance is confirmed by absent-mindedness. The shadow assumes the subject's awareness of the existence of another element - the sun, which is usually forgotten to draw, this, in turn, has a certain qualitative value. The researcher needs to pay attention to which surface the shadow falls on: water, earth, snow or ice ...
The researcher must try to get from the subject an explanation for the absence of ordinary details - windows, doors or a chimney in the drawing of the house; branches in the drawing of a tree; eyes, ears, mouth, feet, etc. in a drawing of a person - in the event that the assumption of mental retardation of the subject is unfounded.
If some unusual positional relations of objects are noted in the figure, then it is necessary to determine what caused this. For example, if a rickety house is drawn, a tree leaning to one side or a tree with a twisted trunk, or a person who seems to be falling, the researcher needs to ask the subject to explain what is the reason for this situation.
As mentioned above, in the drawing of a tree, each side has its own temporary meaning: the right side is the future, the left is the past, the same, although not so definitely, can be said about the drawing of a house. However, it turned out that this usually does not apply to a drawing of a person, because - if we talk about a drawing of a person in profile - a right-handed person usually draws a figure facing left, and a left-handed person faces right.
The researcher needs to try to establish the reasons for any unusual position of the hands or feet of the drawn person. If a person is drawn in an absolute profile, so that only one side of him is visible, and there are no signs of the existence of the other, the researcher needs to ask the subject to describe: 1) the position of the invisible hand, 2) if there is anything in this hand, then what exactly , 3) what the drawn person is doing with this hand.
The time of the post-drawing survey is not limited. However, if the examination is prolonged and its volume exceeds the volume of the formal part (64 questions and the additional survey given above), then its completion is probably better to be postponed to the next session.
The researcher may be advised to mark with circles the number of any question, the answer to which, as it seems to him, requires additional clarification in a subsequent conversation. It is also very useful to let the subject express his associations regarding the content of the drawings and the post-drawing survey.
Post-drawing test questioning "House - Tree - Man" has 2 goals:
- create favorable conditions so that the subject, describing and commenting on the drawings personifying a dwelling, an existing or once existing object and a living or once living person, could reflect his feelings, relationships, needs, etc .;
- provide the researcher with an opportunity to clarify any unclear aspects of the drawings.
Interpretation of the signs of the test "House - Tree - Man":
House - Tree - Man: House
House - Tree - Man: Tree
House - Tree - Man: Man
