Projective test house tree man. Test: "Home

Test "House-Tree-Person"

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

R. Berne, when using the DDH test, asks to depict a tree, a house and a person in one drawing, in one happening scene. The interaction between the house, the tree and the person is believed to represent 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, tree and person is made. If a tree is drawn first, it means that the main thing for a person is vital energy. If the house is drawn first, then safety, success, or, conversely, neglect of these concepts come first.

House - interpretation of signs

General

Home away - a feeling of rejection (rejection).

Home nearby – openness, accessibility and/or a feeling of warmth and hospitality.

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

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

The shutters are closed - the subject is able to adapt in interpersonal relationships.

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

Walls

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

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

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

A wall with an accentuated horizontal dimension means poor orientation in time (dominance of the past or future). The subject may be 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 perspective - only one side is shown. If it is a side wall, there are serious tendencies towards alienation and opposition.

Transparent walls are an 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

Doors (one or more), back or side - retreat, detachment, avoidance.

Doors are open - the first sign of frankness and achievability.

The doors are open. If the house is residential, this is a strong need for warmth from the outside or a 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 - reluctance to let you into your “I”. Feelings of inadequacy, inadequacy, and hesitancy in social situations.

Doors with a huge lock - hostility, suspiciousness, secrecy, defensive tendencies.

Smoke

Smoke in a thin stream - a feeling of lack of emotional warmth at home.

Window

The windows are very open - the subject behaves somewhat cheekily and straightforwardly. Many windows show readiness for contacts, and the absence of curtains shows a lack of desire to hide your feelings.

The windows are closed (curtained). Concern with interaction with the environment (if this is significant for the subject).

Windows without glass - hostility, alienation. The absence of windows on the ground floor means hostility, alienation.

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

Roof

The roof, a bold outline, unusual for the drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

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

Roof, thick outline of the edge - excessive preoccupation with control over fantasy (its curbing).

A roof that does not fit well with the lower floor is a bad personal organization.

The eaves of the roof, its accentuation with a bright outline or extension beyond the walls, is a highly protective (usually suspicious) installation.

Room

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.

A room that does not fit on the sheet is the subject’s reluctance to depict certain rooms due to unpleasant associations with them or with their occupant.

The subject chooses the nearest room - suspiciousness.

Bath – performs a sanitary function. If the manner in which the bath is depicted is significant, these functions may be impaired.

Pipe

The pipe is almost invisible (hidden) - reluctance to deal with emotional influences.

The pipe is drawn obliquely in relation to the roof - the norm for a child; significant regression if found in adults.

Drainpipes - enhanced protection and usually suspicious.

Water pipes (or roof drains) are enhanced protective installations (and usually increased suspiciousness).

Additionally

Trees often symbolize various faces. If they seem to be “hiding” the house, there may be a strong need for dependency with parental dominance.

Bushes sometimes symbolize people. If they are closely surrounding the house, there may be a strong desire to protect themselves with protective barriers.

Bushes are scattered chaotically throughout the space or on both sides of the path - a slight anxiety within the framework of reality and a conscious desire to control it.

A path, good proportions, easily drawn - shows that the individual displays tact and self-control in contacts with others.

The road is very long - reduced availability, often accompanied by the need for more adequate socialization.

The path is very wide at the beginning and narrows greatly at the house - an attempt to disguise the desire to be alone, combined with superficial friendliness.

Weather (what kind of weather is depicted) – reflects the subject’s experiences as a whole associated with the environment. Most likely, the worse, more unpleasant the weather is depicted, the more likely it is that the subject perceives the environment as hostile and constraining.

Color

1) the environment is hostile to him,

2) his actions must be hidden from prying eyes.

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

Color selection

The color black is shyness, timidity.

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

The color orange is a combination of sensitivity and hostility.

The color purple is a strong need for power. The color red is the most sensitive. The need for warmth from the environment.

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

Hatching that extends beyond the boundaries of the drawing is a tendency toward an impulsive response to additional stimulation. The color yellow is a strong sign of hostility.

General form

a) the right side is the future, the left is the past,

b) related to the purpose of the room or its permanent occupant,

c) indicating the specificity of experiences: the left side is emotional, the right side is intellectual.

Perspective

Perspective, the drawing is depicted in the distance - a desire to move away from conventional society. Feeling of isolation, rejection. There is a clear tendency to isolate oneself from one’s surroundings. The desire to reject, not to recognize this drawing or what it symbolizes. Perspective, signs of “loss of perspective” (the individual correctly draws one end of the house, but draws the vertical line of the roof and walls at the other - does not know how to depict depth) - signals the beginning of difficulties in 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 not even two are in the same plan) - excessive concern with the opinions of others about oneself. The desire to keep in mind (to recognize) all connections, even minor ones, all features.

Placement of the picture

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 aloof.

Placing the drawing exactly in the center of the sheet is insecurity and rigidity (straightness). The need for careful control for the sake of conservation mental balance.

Placing the design below the center of the sheet - the lower the design is relative to the center of the sheet, the more it looks like:

1) the subject feels unsafe and uncomfortable, and this creates a depressive mood in him;

2) the subject feels limited, constrained by reality.

Placing a picture on the left side of the sheet is an emphasis on the past. Impulsiveness.

Placing a picture in the upper left corner of the sheet is a tendency to avoid new experiences. The desire to go into the past or delve into fantasies.

Placing a picture on the right half of the sheet means 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, overt emotional experiences.

Going beyond the right edge of the sheet is a 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 a fixation on thinking and fantasy as sources of pleasure that the subject does not experience in real life.

The contours are very straight - rigidity.

A sketchy outline, used constantly - at best, pettiness, a desire for accuracy, at worst - an indication of the inability to take a clear position.

House drawing analysis diagram

2. Detailed image

3. Metaphorical image

4. Town house

5. Country house

6. Borrowing from a literary or fairy tale plot

7. Availability of windows and their number

8. Presence of doors

9. Pipe with smoke

10. Window shutters

11. Window size

12. Overall size of the house

13. Presence of a front garden

14. Presence of people near the house and in the house

15. Having a porch

16. The presence of curtains on the windows

17. Availability of plants (quantity)

18. Number of animals

19. The presence of a landscape image (clouds, sun, mountains, etc.)

20. Presence of shading on intensity scale 1,2,3

21. Line thickness on intensity scale 1, 2, 3

22. The door is open

23. The door is closed

Human

Head

Small head - experience of intellectual inadequacy.

Fuzzy head – shyness, timidity. The head is depicted at the very end - interpersonal conflict.

A large head on a figure of the opposite sex is an imaginary superiority of the opposite sex and its higher social authority.

Neck

The neck is emphasized - the need for protective intellectual control.

Excessively large neck - awareness of bodily impulses, trying to control them.

Long thin neck – inhibition, regression.

A thick, short neck is a sign of concessions to one’s weaknesses and desires, an expression of unsuppressed impulse.

Shoulders, their sizes

Shoulders are small – a feeling of low value, insignificance. Shoulders that are too angular are a sign of excessive caution and protection.

Sloping shoulders - despondency, despair, guilt, lack of vitality.

Broad shoulders - strong bodily impulses.

Torso

The body is angular or square - masculinity.

The body is too large - the presence of unsatisfied needs that are acutely aware of the subject.

The torso is abnormally small - a feeling of humiliation, low value.

Face

The face is emphasized - strong concern about relationships with others, 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 impacts.

The eyes are depicted as empty sockets - a significant desire to avoid visual stimuli. Hostility. Eyes bulging - rudeness, callousness. Small eyes – self-absorption. Eyeliner - rudeness, callousness. Long eyelashes– flirtatiousness, a tendency to seduce, seduce, demonstrate oneself.

Full lips on a man’s face are femininity. The clown's mouth is forced friendliness, inadequate feelings.

The mouth is sunken - 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 - timidity, shyness. The facial expression is obsequious - insecurity. A face that looks like a mask means caution, secrecy, possible feelings of depersonalization and alienation.

Eyebrows sparse, short ~ – contempt, sophistication.

Hair

Hair heavily shaded - anxiety associated with thinking or imagination.

The hair is not shaded, not painted over, frames the head - the subject is controlled by hostile feelings.

Limbs

Wide arms (arm span) – intense desire for action.

Hands wider at the palm or at the shoulder - insufficient control of actions and impulsiveness.

Arms depicted not together with the body, but separately, extended to the sides - the subject sometimes catches himself in actions or actions that are out of his control.

Hands crossed on the chest - a hostile and suspicious attitude.

Hands behind your back - unwillingness to give in, to compromise (even with friends). The tendency to control the manifestation of aggressive, hostile impulses.

Arms are long and muscular - the subject needs physical strength, dexterity, courage as compensation.

Arms too long - overly ambitious aspirations.

Hands are relaxed and flexible – good adaptability in interpersonal relationships.

Arms tense and pressed to the body - clumsiness, rigidity.

Arms are very short – lack of aspirations along with a feeling of inadequacy.

Hands too large - strong need for better adjustment in social relationships with feelings of inadequacy and a tendency to impulsive behavior.

Lack of hands - a feeling of inadequacy with high intelligence.

Deformation or emphasis of an arm or leg on the left side is a social-role conflict.

Hands are depicted close to the body - tension. A man’s large arms and legs mean rudeness, callousness. Tapering arms and legs are feminine. Long arms - a desire to achieve something, to take possession of something.

Arms are long and weak - dependence, indecisiveness, need for care.

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

Arms extended 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.

The hand is like a boxing glove - repressed aggression. Hands behind your back or in your pockets – guilt, self-doubt.

Hands are unclearly outlined - lack of self-confidence in activities and social relationships.

Large hands are a compensation for perceived weakness and guilt. Hands are missing from the female figure. – The maternal figure is perceived as unloving, rejecting, unsupportive.

Fingers are separated (chopped off) - repressed aggression, isolation.

Thumbs – rudeness, callousness, aggression. More than five fingers – aggressiveness, ambition.

Fingers without palms - rudeness, callousness, aggression.

Less than five fingers – dependence, powerlessness. Long fingers - hidden aggression. Fingers clenched into fists - rebellion, protest. Fists pressed to the body - repressed protest. Fists far from the body - open protest. Fingers large, like nails (thorns) - hostility.

The fingers are one-dimensional, surrounded by a loop - conscious efforts against aggressive feelings.

Legs are disproportionately long – a strong need for independence and the desire for it.

Legs too short – feeling of physical or psychological awkwardness.

The drawing began with the feet and legs - timidity. Feet are not depicted - isolation, timidity. Legs wide apart - outright neglect (insubordination, ignoring or insecurity).

Legs of unequal sizes - ambivalence in the desire for independence.

No legs - timidity, isolation. Legs are emphasized - rudeness, callousness. Feet are a sign of mobility (physiological or psychological) in interpersonal relationships.

Feet are disproportionately long – a need for safety. The need to demonstrate masculinity.

Feet are disproportionately small - stiffness, dependence.

Pose

Head in profile, body in front - 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.

A person depicted running means a desire to run away, to hide from someone.

A person with visible imbalances in proportions in relation to the right and left sides is a 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.

Man in a smooth light step– good adaptability.

The person is an absolute profile - serious detachment, isolation and oppositional tendencies.

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

Unbalanced standing figure – tension.

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

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

Stick figure - can mean prevarication and negativism.

The figure of Baba Yaga is open hostility towards women.

Clown, caricature - a feeling of inferiority characteristic of teenagers. Hostility, self-contempt.

Background. Environment

The line of the base (earth) is insecurity. It represents the necessary point of reference (support) for constructing the integrity of the drawing and provides stability. The meaning of this line sometimes depends on the quality the subject attaches to it, for example, “the boy is skating on thin ice.” The base is often drawn under a house or tree, less often under a person.

The weapon is aggression.

Multifaceted criteria

Buttons, a belt plaque, the vertical axis of the figure is emphasized, pockets - dependence.

Circuit. Pressure. Hatching. Location Few bent lines, many sharp corners - aggressiveness, poor adaptation.

Rounded (rounded) lines – femininity. The combination of confident, bright and light contours is rude and callous.

The outline is dim, unclear - fearfulness, timidity. Energetic, confident touches – perseverance, safety.

Lines of unequal brightness - voltage. Thin extended lines – tension. An unbroken, emphasized contour framing the figure is isolation.

Sketch outline – anxiety, timidity. A circuit break is a sphere of conflict. The line is emphasized - anxiety, insecurity. The sphere of conflicts. Regression (especially in relation to the emphasized detail).

Jagged, uneven lines - insolence, hostility. Confident, strong lines – ambition, zeal.

The bright line is rudeness. Strong pressure – energy, persistence. Great tension.

Light lines – lack of energy. Light pressure – low energy resources, stiffness.

Lines with pressure – aggressiveness, persistence.

Uneven, unequal pressure – impulsiveness, instability, anxiety, insecurity.

Changeable pressure – emotional instability, labile moods.

Stroke length

Straight 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 imagination, femininity, weakness.

Vague, varied, changeable strokes - insecurity, lack of perseverance, perseverance.

Vertical strokes – stubbornness, perseverance, determination, hyperactivity.

Hatching from right to left – introversion, isolation. Shading from left to right - the presence of motivation. Self-shading – aggression, extraversion. Erasures – anxiety, apprehension. Frequent erasures – indecision, dissatisfaction with oneself. Erasing during redrawing (if the redrawing is more perfect) is a good sign.

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

Erasing without an attempt to redraw (i.e., correct) is an internal conflict or conflict with this particular detail (or with what it symbolizes).

Size and position

Small figures – anxiety, emotional dependence, feelings of discomfort and constraint.

A very small figure with a thin outline - stiffness, a sense of one’s own worthlessness and insignificance.

The lack of symmetry is insecurity.

The drawing at the very edge of the sheet is dependence, self-doubt.

A drawing on the entire sheet is a compensatory exaltation of oneself in the imagination.

Details

Substantial Detail - The absence of significant detail in a drawing of a subject who is now or in the recent past known to be of average or higher intelligence is more likely to indicate intellectual degradation or severe emotional disturbance.

An excess of details - the “inevitability of physicality” (the inability to limit oneself) indicates a forced need to improve the entire situation, an excessive concern for the environment. The nature of the details (significant, unimportant or strange) can serve to more accurately determine the specificity of sensitivity.

Unnecessary duplication of details - the subject most likely does not know how to enter into tactful and flexible contacts with people.

Insufficient detail – tendencies towards isolation. Particularly meticulous detailing - constraint, pedantry.

The psychologist also monitors the behavior of the subject:

Ability to critical assessment drawing when asked to criticize it - criteria for not losing contact with reality;

Accepting the task with minimal protest is a good start, followed by fatigue and interruption of drawing;

Apologizing because of the drawing is a lack of confidence;

As drawing progresses, the pace and productivity decrease - rapid exhaustion.

The name of the picture is extraversion, need and support. Pettiness.

The left half of the picture is emphasized – identification with the female gender.

Draws persistently, despite difficulties - good prognosis, energy.

Resistance, refusal to draw - hiding problems, unwillingness to reveal oneself.

Tree

The interpretation of a tree drawing always contains a permanent core (roots, trunk, branches) and ornamental elements (foliage, fruits, landscape). As already noted, K. Koch’s interpretation was aimed mainly at identifying pathological signs and characteristics of mental development. In our opinion, there are a number of contradictions in the interpretation, and there is also the use of concepts that are difficult to specify. For example, in the interpretation of the sign “rounded crown”, “lack of energy”, “drowsiness”, “nodding” and then “gift of observation”, “strong imagination”, “frequent inventor” or “lack of concentration” - what? What reality is behind this concept? Remains unknown. In addition, the interpretation of signs contains excessive use of ordinary definitions. For example: “emptiness”, “pomposity”, “pomposity”, “flat”, “vulgar”, “petty”, “narrow-minded”, “pretentiousness”, “pretense”, “stiffness”, “pretentiousness”, “falseness” and right there - “gift of constructiveness”, “ability for systematics”, “technical talent”; or a combination of “self-discipline”, “self-control”, “good manners” - “pomposity”, “swagger”, “indifference”, “indifference”.

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

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

The earth sinks to the right edge of the sheet - loss of strength, lack of aspirations.

Roots

Roots larger than the trunk - intense curiosity, which can cause anxiety.

The roots are indicated by a line - childish behavior in relation to what is kept secret.

The roots in the form of two lines are the ability to distinguish and prudence in assessing the real; different shape These roots may be associated with the desire to live, suppress or express certain tendencies in an unfamiliar circle or close environment.

Symmetry is the desire to appear in harmony with the outside world. Marked tendency to restrain aggressiveness. Hesitation in choosing a position in relation to feelings, ambivalence, moral problems.

The arrangement on the sheet is ambiguous - the relationship 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 and balance with others. Indicates the need for rigid and rigorous systematization based on habits.

Arrangement from left to right - increases focus on the outside world, on the future. The need to rely on authority; seeking agreement with the outside world; ambition, the desire to impose oneself on others, a feeling of abandonment; fluctuations in behavior are possible.

Foliage shape

Branches drooping - loss of courage, refusal of effort. Branches upward - enthusiasm, impulse, desire for power. Branches in different directions - search for self-affirmation, contacts, self-dispersal. Fussiness, sensitivity to the environment, lack of opposition to it.

Foliage-mesh, more or less dense - greater or less dexterity in avoiding problematic situations.

Foliage of curved lines - receptivity, open acceptance of the environment.

Open and closed foliage in one picture - a search for objectivity.

Closed foliage - protection of one's own inner world in a childish way.

Closed dense foliage is hidden aggressiveness. Details of foliage not related to the whole - insignificant details are taken as a characteristic of the phenomenon as a whole.

The branches emerge from one area on the trunk - a child’s search for protection, the norm for a seven-year-old child.

The branches are drawn with one line - an escape from the troubles of reality, its transformation and embellishment.

Thick branches are a good discernment of reality. Loop leaves - prefers to use charm. Palma - the desire to change places. Mesh foliage - escape from unpleasant sensations. Foliage as a pattern - femininity, friendliness, charm. Weeping willow– lack of energy, desire for solid support and search for positive contacts; return to the past and childhood experiences; difficulties in making decisions.

Blackening, shading - tension, anxiety.

Trunk

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

A one-line trunk is a refusal to look at things realistically.

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

Foliage with thin lines - subtle sensitivity, suggestibility.

Trunk with lines with pressure - determination, activity, productivity.

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

The trunk lines are crooked - activity is inhibited by anxiety and thoughts about the insurmountability of obstacles.

"Vermicelli" - a tendency to secrecy for the sake of abuse, unforeseen attacks, hidden rage.

The branches are not connected to 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 the foliage - high intelligence, normal development, the desire to preserve inner peace.

The trunk is torn off the ground - lack of contact with the outside world; Everyday life and spiritual life have little connection.

The trunk is limited from below - a feeling of unhappiness, a search for support.

The trunk expands downward - searching for a reliable position in one’s circle.

The trunk tapers downwards - a feeling of security in a circle that does not provide the desired support; isolation and the desire to strengthen the self against a troubled world.

Overall height - lower quarter of the sheet - dependence, lack of self-confidence, compensatory dreams of power.

The lower half of the leaf is less pronounced dependence and timidity.

Three quarters of the leaf is a good adaptation to the environment. The leaf is used in its entirety - it wants to be noticed, count on others, assert itself.

Sheet height (page divided into eight parts):

1/8 – lack of reflection and control. Normal for a four year old child

1/4 – the ability to comprehend one’s experience and slow down one’s actions,

3/8 – good control and reflection,

1/2 – internalization, hopes, compensatory dreams,

5/8 – intense spiritual life,

6/8 – the height of the foliage is directly dependent on intellectual development and spiritual interests,

7/8 – foliage covers almost the entire page – an escape into dreams.

Manner of depiction

Multiplicity of trees (several trees on one leaf) is childish behavior; the subject does not follow these instructions.

Two trees - can symbolize yourself and another loved one (see position on the sheet and other points of interpretation).

Adding various objects to the tree is interpreted depending on the specific objects.

Methodology for personality research “House-tree-person” Designed for both adults and children, group examination is also possible. The technique was proposed by J. Buck in 1948, and consists in the fact that the subject must draw a house, a tree and a person. The author justifies the choice of objects for drawing by the fact that they are familiar to every subject, are the most convenient for drawing and, finally, stimulate freer verbal statements than other objects. After finishing the drawing, the respondent is interviewed according to the developed plan. According to J. Buck, each drawing is a kind of self-portrait, the details of which have personal significance. From the drawing one can judge the affective environment of the individual, his needs, the level of psychosexual development, etc.

In addition to using “House-Tree-Person” as a projective technique, the author demonstrates the ability of the test to determine the level of intellectual development (the rank correlation coefficient with intelligence tests is 0.41-0.75). This is consistent with a long tradition of diagnosing intelligence levels using drawing.

R. Berne, when using the “House-Tree-Man” personality research methodology, asks to depict a tree, a house and a person in one drawing, in one ongoing scene. The interaction between the house, the tree and the person is believed to represent 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. This modification of the technique was called “Kinetic D.f.ch.”

A special way of interpretation may be the order in which the drawing of the house, tree and person is made. If a tree is drawn first, it means that the main thing for a person is vital energy; if the house is drawn first, then safety, success, or, conversely, neglect of these concepts come first.

Foreign researchers consider it necessary to further study the validity of the “House-Tree-Person” personality research methodology as a tool for measuring intelligence and personality traits. There are reports of confirmation of the validity of “House-Tree-Person” in cross-cultural studies (A. Soutter, 1994). Studies of the test-retest reliability of the “House-Tree-Person” and the methodology for calculating indicators proposed by J. Buck demonstrated satisfactory reliability of the test with both the same and different instructions to the subjects during retesting (Ya. Wu, B. Rogers, G. Seawright, 1991).

Before you start using the catalog, it is advisable to read all of its material. This will save time and help you develop the right orientation when searching for positions. The catalog consists of a section common to all three drawings and sections designed to interpret each separately. For example, if the warp line is similar in all three drawings, its interpretation should most likely be sought in the general section. But sometimes the same position can be found in two sections. Then, for a more perfect interpretation, both options need to be taken into account.

Instructions: on separate sheets of paper, draw sequentially: a) a house, b) a tree, d) a person.

CATALOG

General section

Clouds- general anxiety associated with the depicted situation.

Color- as long as it is used realistically and conventionally, it has no pathomorphic or pathological significance. As this feature decreases, color becomes increasingly important. Specific interpretations of light must be made with great caution.

Color selection- the longer, more uncertainly and harder the client selects colors, the more likely the presence of personality disorders.

Yellow color- strong signs of hostility. Conventional use of this color is mainly limited to images inside the home. In this case, denoting night or its approach, yellow expresses the experience of environmental hostility and the need to hide one’s actions from others.

Yellow in the whole picture - very strong feeling hostility at all social connections and relationships.

Orange color- pathomorphic combination of sensitivity and hostility (if the color is used non-convective).

Color red- the greatest sensitivity, the need for warmth from the environment. Some people call this color erotic.

Color purple- a strong need for power, never conventionally applied to either a tree or a house.

Green color- the need to have a sense of security, to protect oneself from danger. This position is of little importance when using green for the branches of a tree or the roof of a house.

Color blue- a certain depressive mood background. The need for self-control and its training is recognized.

Black color- depressive mood background. Shyness, timidity. Strong oppositional tendencies with potential for aggression. Aggression may or may not be directed outward.

Color black and blue, combined- schizoaffective type of reaction.

Brown color- if shading brown is not applied conventionally (for example, a tree trunk, the walls of a house, human hair), then it indicates caution and an immature (underdeveloped) reaction to emotional stimuli.

Mixing, merging colors. Shades are a more refined use of color.

Color, shading (shadows)- intense in the foreground and background - anxiety, but within the framework of reality.

Color, shading 3/4 sheets- lack of control over the expression of emotions.

Hatching extending beyond the contour- tendency to respond impulsively to additional stimulation.

Details

What is important here is knowledge of them, the ability to operate with them and adapt to specific practical living conditions. The researcher must note the degree of interest of the subject in such things: the degree of realism with which he perceives them; the relative importance he attaches to them; a way to connect these parts together.

Essential details- The absence of significant detail in the drawing of a subject who is now or in the recent past known to be of average or higher intelligence often shows intellectual degradation or serious emotional disturbance.

Excess details- “the inevitability of physicality” (the inability to limit oneself) indicates a forced need to direct the entire situation towards excessive concern for the environment. The nature of the details (significant, unimportant or strange) can serve to more accurately determine the specificity of sensitivity.

Unnecessary duplication of parts- the subject most likely does not know how to enter into tactful and flexible contacts with people.

Organizing parts- If organizational difficulties are found in every drawing, a more severe emotional or organic disorder (or both) can be suspected.

If the complexities of an organization are found in only one drawing, it may very well be that a violation of the functional order is associated with the situation depicted in the drawing.

If in all three drawings the organization of details is satisfactory, then the subject’s personal structure is quite stable (even with a large number of pathological signs).

In the case of a more successful organization of details in color drawings than in single-color drawings, the prognosis is more favorable.

Erase or redraw- if the redrawing is more perfect, this is a good sign.

Erasing with subsequent damage (deterioration) of the drawing indicates:

1) the presence of a strong emotional reaction to the drawn object or to what it symbolizes for the subject;

2) the presence of a malignant organic factor;

3) the presence of both options.

Erasing without attempting to redraw (correct) they speak of the subject having an internal conflict with the part that has been erased, or with what it symbolizes.

Visible fatigue- depressive mood with possible accompaniment of a performance-reducing factor.

Base line (ground)- insecurity. It represents the necessary reference point (support) for the design and integrity of the drawing. Gives the drawing stability. The meaning of this line sometimes depends on the quality the subject attaches to it, for example: “The boy is skating on thin ice.” The base is often drawn under a house and a tree, less often - under a person.

Specially drawn, “fictional” contours of the earth are less significant than those drawn spontaneously.

The outline of the earth is very bold, thick- a feeling of anxiety, anxiety within the framework of reality.

The contour of the earth, descending from the center of the picture to the sides and down,- feeling of isolation and insecurity; dependence on mother; the need for exhibitionism (depends on the size of the picture and the comments of the subject).

The contour of the earth, going down to the right,- anticipation of an unclear and dangerous future, anxiety (the intensity of anxiety is shown by the steepness of the slope).

The contour of the earth rising upward to the right,- the presence of forced efforts and struggle in the future (the intensity depends on the steepness of the climb).

Identification with oneself- interpretation depends on the degree of subjectivity and can vary from a preferential narrowing of the subject’s psychological horizon to obvious egocentrism, excessive interest in oneself, preoccupation with oneself, and a tendency to relate everything to oneself.

Curve outline, curved- usually a good sign, but it can also mean an aversion to restrictions and conventions when severe.

Contour, vaguely outlined in individual details- the subject's reluctance to display this detail because of its relevance or symbolic significance.

Bold outline overall- a generalized feeling of inadequacy along with indecision, hesitation, and fear of losing. If the contour from “house” to “person” becomes increasingly thinner, there is generalized anxiety (or depression).

The outline is bold only on the sides- the subject strives to maintain personal balance. This desire is perceived as unpleasant and is accompanied by physical tension.

The outline is thick in individual parts- fixation on a given object (detail). Covert or overt hostility towards the object thus depicted or what it symbolizes, accompanied by anxiety.

The outline is thick in all drawings- an organic disease may be suspected.

The outline is thick in one of the drawings- generalized tension.

The contours are abrupt and do not connect- a premonition of an impending disaster.

The contours are very straight- frigidity.

Sketch contour, used constantly- pettiness at best, striving for accuracy. At worst, it is a pathoform sign indicating an inability to take a clear position.

Drawings made easily, without unnecessary pettiness- ability to balance with the environment.

The drawings are petty and meticulous- obsessive-compulsive tendencies.

Against the background of the mountain- defensive attitude and desire for dependence (often from the mother).

Placing a picture at the bottom of the sheet- generalized feeling of insecurity. Depressive mood background (the smaller the pattern, the thinner the outline, the more pronounced it is).

The drawing does not fit at the bottom (goes beyond the sheet)- is established only by interviewing the patient or by his spontaneous comments. How most of the drawing appears beyond the lower limit of the sheet, the more likely it is that the subject committed pathoform suppression in order to preserve the integrity of the personality. We can assume the presence of strong exhibitivity.

The drawing extends beyond the left edge of the sheet- fixation on the past and fear of the future. Excessive preoccupation with free, overt emotional expressions. Tendency to impulsive behavior.

Exit to the right edge of the sheet- 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.

Exit beyond the top edge of the sheet- limitation of space with resulting increased sensitivity. This implies strong aggressive-reactive tendencies (hidden or unhidden).

Placing a picture at the top of the sheet- a tendency to fixate on thinking and fantasies as a source of pleasure (which may or may not be obtained in this way).

Rotating a sheet- aggressive or negativistic tendencies. Pathoform if the rotation is repeated; perseveration, if the sheet turns all the time in one direction.

Perspective- by the way the subject constructs it, one can learn a lot of valuable things about the subject’s attitudes, views, and feelings; about his broader and more complex relationships with reality, with other people, about his way of operating with these relationships.

Perspective, its intellectual aspects- the subject’s ability to more subtly assess the environment and relationships with others.

Perspective, profile in the opposite direction to normal- indicates the discovery of contradictory impulses in subjects and a conscious desire to suppress or sublimate them.

Perspective, drawings in absolute profile(this applies to a house turned sideways towards the viewer, doors, a person depicted with only one arm or leg) - reluctance to directly, directly accept the environment (for example, look into the eyes). A certain desire to renounce, to hide one’s “I”. The desire to communicate only according to your own style.

Perspective, absolutely profileless drawings (full face)- if all the drawings are done from the front, this characterizes the subject as direct, uncompromising, persistent. Such an attitude may turn out to be the formation of reactions to a deep-seated feeling of insecurity.

- the desire to renounce, to get away from conventional society. Feeling isolated, rejected, forgotten™.

Place the picture above the center of the sheet- the higher the picture is above the center, the greater the likelihood that:

1) the subject feels the severity of his struggle and the relative unattainability of the goal;

2) the subject is inclined to seek satisfaction in fantasies (internal tension);

3) the subject tends to stay aloof.

Placing the drawing exactly in the center of the sheet- insecurity and rigidity (straightforwardness). The need for careful control to maintain mental balance.

Placing the picture below the centralist- the lower the center of the picture in relation to the sheet, the:

1) the subject feels unsafe and uncomfortable, and this creates a depressive mood in him;

2) the subject feels limited, constrained by reality.

Placing the drawing on the margin side of the sheet- emphasizing the past; impulsiveness; extra intensity. Possible excess of female feelings (or female identification).

Place a picture in the upper left corner of the sheet- intraintensity. The subject is clearly anxious and regressing (unless there is a congenital mental retardation). A tendency to avoid new experiences, a desire to retreat into the past or delve into fantasies.

Placing the picture on the right side of the sheet- intra-intensity. The subject tends to seek pleasure in intellectual spheres. Controlled behavior. Emphasis on the future. Possible excess of masculine traits or masculine identification.

Proportion

Realism and proportions details in the drawing reveals the values ​​ascribed by the subject to objects, situations, people that represent their images actually or symbolically.

Proportion, its intellectual aspects. Its solution shows a style of thinking or planning (mainly in connection with the immediate specific features of objects).

Proportion, use of a minimum of details- it is possible that a subject who is oriented in spatial-orientational relations, but uses only a minimum of details, has tendencies:

1) avoid, detach;

2) disrespect normal convection values. A subject who demonstrates an inadequate understanding of these relationships and uses a minimum of detail may be mentally retarded or suffer from significant intellectual impairment (reversible or irreversible).

Constantly decreased psychomotor skills- suspicion of the presence of an organic factor, depressing anxiety or severe depression.

Clearly increased psychomotility- excessive excitement along with weakened inhibition.

Redrawing without previously erasing an unfinished drawing- negative reaction of the subject.

Addition to the general plan- unbridled anxiety, fear of losing control.

Specific supplement- fixation on an additional object (displayed actual or symbolically). Often accompanied by anxiety.

The drawing is uncertain, piece by piece. Uncertainty arising from the inability to imagine the entire drawing as a whole, and the lack (loss) of a sense of balance. Characteristic of organics and people in a state of severe anxiety.

Transparency- ignoring reality. Shows the degree of damage to the general structure of the personality by an organic or patho-emotional factor (or both together) to such an extent that this already prevents the person from correctly assessing reality.

This degree (pathologicality) can be measured by the number of transparencies and their magnitude (for example, the transparency of clothing sleeves in this case is much less significant than the transparency of the wall of a house).

In the case of mental retardation of the subject, transparency is less important than in the case of average or above average intelligence.

Weather(what weather is depicted) reflects the subject’s experiences associated with the environment as a whole. Most likely, the worse, more unpleasant the weather is depicted, the more likely it is that the subject perceives the environment as hostile and constraining. Before instructing, it is necessary to find out the subject’s attitude to the depicted weather.

Limitation of the drawing as a whole- a feeling of inadequacy or inadequacy.

Perspective, the drawing is shown in the distance- desire to move away from conventional society; feeling of isolation, rejection. There is a clear tendency to isolate oneself from one’s surroundings. The desire to reject, not to recognize this drawing or what it symbolizes.

House. Homes as they are now. How the subject would like to see them. Houses you didn't like in the past. Good houses are a thing of the past. The subject's opinion of the family or his interpretation of the family in relation to him. Self-portrait.

House, its anthropomorphic understanding. Organic must be suspected. (Exceptions are small children and cases of congenital dementia).

The house is formidable, old, collapsed. Sometimes a subject can express an attitude towards himself in this way.

Home in the distance. Feelings of longing and being rejected. Subject is unable to resolve the situation at home. Unavailability. If the “pictured” attitude is completely opposite, there may be a serious defect in the assessment of reality.

House nearby. Openness, accessibility and/or a feeling of warmth and hospitality.

Bath. Performs a sanitary function. If the manner in which the bath is depicted is significant, these functions may be impaired.

Bedroom. This is the place of the most intimate interpersonal relationships. A graphic or verbal depiction of one's own bedroom can help reveal the subject's level of sexual fitness, as well as reveal the subject's attitude toward or need for rest and relaxation.

Dining room (living room). The function of this room is to satisfy oral and nutritional needs. If the manner of drawing indicates the significance of this room for the subject, a violation of these functions can be suspected. (Other, more general considerations are in the “Room”).

Living room (living room)- social communication.

Kitchen. The image of a room in which food is prepared, in the presence of a special manner of drawing in the subject (indicating violations), signals oral eroticism. This may be due to a strong need for affection and love.

Various outbuildings. Aggression directed against the actual owner of the house, or rebellion against what the subject considers artificial, cultural, standard. If the subject draws a toilet near the house, it can be assumed that there is a urethral and/or anal interest (preoccupation).

Pipe. A phallic symbol if the subject shows its value. Emotional maturity and balance. Symbol (sign) of warmth in intimate relationships.

Lack of pipe. The subject feels a lack of psychological warmth at home; has difficulty when confronted with a male symbol.

The pipe is almost invisible (hidden)- reluctance to deal with emotional influences. Fear of castration.

Trumpet, its emphasis. Focusing on male characteristics. Excessive concern about heat.

The pipe is too big. Excessive anxiety about sexual affairs and the need to demonstrate male strength Exhibitionist tendencies.

The pipe hole is visible. Sexual role violation. Sexual impotence and fear of castration.

The pipe is drawn obliquely in relation to the roof- the norm for a child. Dementia or significant regression if found in adults.

Pipe transparent or without depth- denial of the phallus, which can mean either impotence or fear of castration.

The pipe is visible through the transparent roof- poorly hidden exhibitionist tendencies. The subject feels that his alarm and interest in the phallus is obvious.

Lots of pipes. If the style of the drawing shows that this is a significant thing for the subject, we can assume his excessive interest and concern associated with the phallus.

Ventilation pipe above the roof. Phallic preoccupation. There is a significant correlation between this symptom and enuresis and/or urethral eroticism.

Water pipes (or roof drains). Strengthened defensive attitudes (and usually increased suspiciousness). Possible urethral eroticism or oral preoccupation (interest in the phallus).

Color, i.e. painted parts. Usually the roof and chimney are painted. If objects other than the pipe and roof are colored, the researcher should try to find out the reason for this.

Color, conventional, usual use. Green for the roof. Brown for walls. Yellow color, if used only to depict light inside the house, thereby depicting night or its approach, expresses the subject’s feelings that: 1) the environment is hostile to him; 2) his actions must be hidden from prying eyes.

Number of colors used. A well-adapted, unselfconscious, emotionally intact subject uses no less than two and no more than five colors.

A subject who paints a house with 7-8 colors is, at best, very labile. Anyone who uses only one color is afraid of emotional excitement.

Details, their distortions. Usually symbolizes aggressive hostility, sometimes partially internalized. Hostility is directed against the whole picture or distorted details (actually or symbolically perceived).

Details are necessary (essential). At least one door (unless only one side of the house is shown), one window, one wall, roof, rough or other structure for the escape of smoke (unless it is a structure in the tropics). The absence of a chimney may justify the fact that the house is depicted as dilapidated.

Parts are not necessary (see also individual parts: bushes, path, etc.). The subject feels the need to arrange his environment as fully and in detail as possible to his own taste, thereby demonstrating a feeling of inadequacy and insecurity. The more unnecessary details, the more intense it is. Excessive concern for the environment with insufficient attention to oneself. However, the better the minor details are organized and the more closely, directly connected with the house, the more it seems that the subject’s anxiety finds the desired direction and is successfully controlled.

Extra details: horizontal line, separating the first floor from the second, indicates extreme concreteness with possible organics or concentration of attention over somatics. Psychosomatic illnesses may be suspected.

Doors, their absence. The subject experiences pathoform difficulties in opening up to others (especially in the home circle).

Doors, one or more, rear or side. Retreat, detachment, avoidance (especially if the subject shows the significance of these doors for him).

Doors, one or more, are front doors. The first sign of frankness and achievability. Depict direct methods of entry and exit.

The door is the last detail drawn. Antipathy to interpersonal contacts. The tendency to withdraw from reality.

The doors are open. If the house is residential, this is a strong need for warmth from the outside or a desire to demonstrate accessibility (frankness).

Side doors, one or more. Alienation, solitude, avoidance 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. Reluctance to let into your “I”. Feelings of inadequacy, inadequacy, and hesitancy in social situations.

Doors with a huge lock- hostility, suspiciousness, secrecy, defensive tendencies.

Doors with large hinges- hostility, suspicious secrecy, defensive tendencies.

Door handle, its accent. Excessive fixation on the function of doors and/or restless interest in the phallus.

Fireplace, its direct accentuation (the fireplace is visible through the walls). Fixation on the direct function of the fireplace (heat source) or on its symbolism (for example, male or female genital organs). Its intensity shows a denial of reality (like a denial of the opacity of the walls of a house). The final interpretation will depend on the subject's explanations.

Fireplace, indirect acceptance. Conflict with a permanent resident. Neurotic attachment to this person or to some emotional situation associated with him.

Furnace, indirect acceptance. Pleasant warmth or open hostility towards the situation at home.

House plan(projection from above) instead of the house itself. Serious conflict at home. If the plan is well depicted, paranoid ideas may be suspected. If the plan is unsuccessful, organics are possible.

Foundation support(for example, columns) are unusually high. Organic is suspected.

Movement. Most likely pathological, at least pathomorphic. With this the subject symbolizes the traumatic feeling of losing It. In a “house” it is much less common than in a “village” or “person”.

Place the picture at the bottom of the sheet. Generalized feeling of uncertainty, not safety. Often associated with a specific time value:

a) the right side is the future, the left is the past;

b) related to the purpose of the room so placed
or with its permanent resident;

c) indicating the specificity of experiences: left side-
on - emotional, right - intellectual.

Place the picture at the top of the sheet. Rarely found in the “house” drawing. Indicates some kind of chaotic escape from reality.

Roof. Sphere of fantasy.

Roof and chimney torn off by the wind. Symbolically express the subject’s feeling that he is commanded by forces independent of his own will.

Roof, bold outline, not typical for the entire drawing. Fixation on fantasy as a source of pleasure, usually accompanied by anxiety.

Instead of a house there is only a roof and a fence. Pathologically poor contact with reality. An indication of possible destruction of the Ego.

Roof, thin edge outline. Experience of weakening fantasy control.

Roof, thick edge outline. Excessive preoccupation with fantasy control (restraint).

A roof that doesn't fit well with the ground floor. Poor personal orientation.

The roof is quite big. Seeking pleasure in fantasies.

A roof covering something like a wall. The assumption that the subject lives more in a fantasy world.

Roof cornice, accentuating it with a bright outline or extension behind the walls. A highly protective (usually suspicious) attitude.

Room. Associations may arise due to:

a) the person living in the room;

b) interpersonal relationships in the room;

c) the purpose of this room (real or attributed)
washed away).

Associations can have a positive or negative connotation (emotional). The meaning of the room to the subject must be verified based on his comments, drawing style, and RTD.

A room that does not fit on the sheet. The subject's reluctance to depict certain rooms because of unpleasant associations with them or with their occupant.

The upper room is distant. With such a choice, a slight tendency towards alienation is likely. If there are more signs of alienation, the tendency to isolate is more significant.

The room is closest. The choice indicates suspiciousness.

Perspective “above the subject” (look from bottom to top). Feeling that the subject is rejected, excluded, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable. Tendency to have limited contact with others.

Perspective “under the subject” (bird's eye view). Denial (non-recognition) of the drawn house. Non-recognition of the worship of the hearth, which is characteristic of many people. Other-clastic attitudes (rebellious hostility towards established traditions and views). The subject feels elevated "above" household chores, but this is often accompanied by depression.

Perspective (signs of loss of perspective). The subject correctly depicted one end of the house, but at the other he drew a vertical line of the roof and walls - he did not know how to depict depth.

This sign occurs exclusively in males and indicates the beginning of difficulties in integration, fear of the future (if the vertical lateral line is on the right) or a desire to forget the past (lines on the left).

The perspective is triple (three-dimensional). Subject paints at least four separate walls, of which not even two are in the same plan. Excessive concern about others' opinions of oneself. The desire to keep in mind (to recognize) all connections, even minor ones, all features.

The profile is absolute. It can be assumed that there is an acute paranoid reaction towards the home (or intimate interpersonal relationships).

Track, good proportions, easy to draw. Shows that the individual exhibits tact and self-control in contacts with others.

The path is very long. Reduced availability is often accompanied by a need for more adequate socialization.

The path is very wide at the beginning and greatly tapering near the house. An attempt to mask the desire to be lonely, combined with superficial friendliness.

Transparent walls. Compulsive drive, the need to influence the situation (own, organize) as much as possible. A mentally disabled subject, depicting more invisible (internal) details than visible ones, thereby demonstrates a feeling of inadequacy in situations that are dangerous for him. In the case of normal intelligence, there is a serious defect in the ability to critically reason and evaluate reality.

A wall, the absence of its foundation. Weak contact with reality (if the picture is placed below), a feeling of unreality.

A wall with an accented outline of the base. Anxiety within reality. The subject, when trying to repress oppositional tendencies into the subconscious, experiences difficulties.

Wall: Contour lines are too emphasized. Conscious desire to maintain control.

The walls are not connected. Suspected organics with possible loss of control over primitive instincts.

Wall: one-dimensional perspective- only one wall is shown. If this is a side wall, there are serious tendencies towards alienation and opposition. If the front wall is shown, it is:

1) normal for small children;

2) in adults - an expression of a strong need to maintain a pleasant “façade” in interpersonal relationships.

Walls, two-dimensional perspective, distant walls that are too wide. Increased defensive tendencies. Schizophrenia (especially if the central wall is blank (no doors, no windows).

A wall with an accentuated vertical dimension. The subject seeks pleasure primarily in fantasy and has less contact with reality than is desirable.

A wall with an accentuated horizontal dimension. Poor orientation in time (dominance of the past or future). Perhaps the subject is very sensitive to environmental pressure.

Wall and roof together. Ego boundaries. The strength of the Ego is shown by the style of the image.

Walls and roof, their boundaries. Personal boundaries and their character show the strength and plasticity of these boundaries.

Wall: The side contour is too thin and inadequate. Premonition (threat) of disaster, feeling of weakened ego control.

back wall, depicted in a different direction than usual, reveals conscious attempts at self-control, adaptation to conventions, but at the same time the presence of strong hostile tendencies.

Back wall outline significantly thicker (brighter) compared to other parts. The subject strives to maintain (not lose) contact with reality.

Trees. Often symbolized by various faces. If they seem to be hiding at home, there may be a strong need for dependence and/or dominance from the parents.

Bushes sometimes symbolize people. If they are closely surrounding the house, there may be a strong desire to protect themselves with protective barriers.

Bushes scattered chaotically on both sides of the path. Indicates a slight anxiety within the framework of reality and a conscious desire to control it.

Smoke billows now to the right, now to the left. Pathological defect in assessing the environment.

Smoke pours to the left. Pessimistic view of the future.

The smoke is very thick. Significant internal tension (intensity based on smoke density).

The smoke is a thin stream. Urethral eroticism. Feeling of lack of emotional warmth at home.

Steps leading into a blank wall(no doors). They reflect a conflict situation that harms a correct assessment of reality. The inaccessibility of the subject (although he himself may passionately desire free cordial communication). One might suspect organic matter.

Transparent, “glass” box. Symbolizes the experience of putting yourself out there for everyone to see. He is accompanied by a desire to demonstrate himself, but limited only to visual contact.

Window(s). Methods of contact (less immediate and direct compared to doors). Another sign of accessibility and openness.

No windows. Hostility, alienation.

No windows on the first floor. Hostility, alienation.

Window: not on the ground floor, but available on the top floor. The gap between real life and fantasy life.

Windows with curtains. Alienation, “backup” availability. If the curtains or shutters are not closed, consciously controlled interaction occurs, accompanied by anxiety.

Accentuating windows through addition, without excessive detailing. Preoccupation with interaction. Part of the reason for the concern is fixation.

Windows: the first floor is drawn at the end. Aversion to interpersonal relationships. Tendency to alienate from reality.

The windows are very open. The subject behaves somewhat cheekily and straightforwardly. Many windows show a readiness for contacts, and the absence of curtains shows a lack of desire to hide one’s feelings.

The windows are tightly closed(curtained). Concern with interaction with the environment (if this is significant for the subject). If the curtains are drawn easily, spontaneously, the subject is capable of subtle (refined) contacts in the home circle.

Windows with closed shutters. The subject is able to subtly adapt in interpersonal relationships.

The windows are open. If someone lives in the house - greater availability or desire for it. If no one lives in the house, this is a weakness of the Ego’s self-defense. In some cases, lack of control can reach pathomorphic levels.

Window(s): glass is symbolized by one vertical dividing the window. A fixation on the female genital organs can be expected.

Windows without glass. Hostility, alienation. Oral or anal eroticism.

Windows, their position, difficulties in matching walls and floors. Early schizophrenia may be suspected if this kind Difficulties occur when the overall composition is good or if they are one of the most important defects.

Windows, distortion of proportions. Excessive concern about relationships with the occupants of a room with disproportionate windows (or the purpose of this room (see purpose of rooms).

Triangle windows. Excessive preoccupation with the female genitals if the window image is significant. Windows with locks. Hostility, isolation.

Tree

Tree - basic self-portrait. An unconscious self-portrait of the subject as a whole. An unconscious picture of the subject’s development, including his usual sensitivity to influences and ways of responding to them. The subject's relationship to a specific person. Associations with the subject’s life role, his ability to receive satisfaction from his environment.

Tree: single or group. The answers to this question are not very meaningful (unless they are very emotionally charged). If the response is significant, one tree expresses a feeling of isolation (or the need for communication), and the group may have additional meaning to the experience of dominance by others.

Plurality of trees(several trees on one sheet) - childish behavior, the subject does not follow the instructions.

The tree is dead. Rarely found in drawings of well-adapted subjects. An indicator of the experience of physical inferiority, psychological inadequacy, emptiness, guilt, etc.

A tree that has died due to loss of roots, branches or trunk. Feelings of destruction, confusion, and unacceptability.

A tree that has died for some time. Relative duration of maladjustment or helplessness (incapacity).

The tree is depicted with a facade (if it symbolizes a person). The subject's view of the position of the implied person.

A tree depicted as two one-dimensional trees. Serious pathological split between affect and intellect.

Tree " keyhole" Strong hostility (possibly partially internalized). Partial rigidity (if the trunk is closed at the base) with a tendency to explosive reactions.

Tree, its dimensions. The subject's understanding of his position or representation of his desired position (actual behavior may differ from these).

The tree is small. Feelings of unworthiness and inadequacy. The desire to withdraw into oneself, to renounce.

The tree is large and does not fit on the leaf. The subject acutely feels the relationship with the environment. Tends to seek pleasure more in activity than in imagination.

Tree leaning to the left. Lack of balance due to the desire for acute overt emotional pleasure and due to impulsive behavior. In relation to time - attachment to the past and fear of the future. If the tree leans to the left of the center of the picture, these trends are more pronounced.

Tree leaning to the right. Lack of balance due to fear of openly expressing strong emotions along with overestimation of intelligence.

A tree presented only as a pencil or piece of chalk. Rigidity, concrete thinking.

The wood, its hardness, the inconsistency of the comments on the drawing. An unstable view of the symbolized world. Pathoform inattention. An inconsistent view of one's own inability to live in general.

Apple tree. Usually children who are highly dependent on their parents draw. Often depicted as pregnant or thirsty women. Apples falling or falling from a tree symbolize the child’s experiences of rejection (refusal, rejection).

Trunk. The subject's understanding of his capabilities and strengths.

The trunk is wide at the base, quickly tapering. Lack of warmth and healthy stimulation in early experience and, as a result, delayed personality maturation.

The trunk is narrowest at the base. A strong desire (struggle) that is inconsistent with the subject’s strengths, and a reflection of a possible violation of Ego control.

The trunk is one-dimensional with one-dimensional branches that do not form a system. Strongly expressed organic matter is possible. Experiences of impotence, sterility, weakness of the Ego, weak coordination of inadequate forces in search of satisfaction.

The trunk is two-dimensional with one-dimensional branches. Successful early development, but later exposed to serious traumatic factors.

The trunk is small. A basic feeling of inadequacy and absurdity.

The trunk is unusually large. A feeling of being constrained by the environment with a tendency to react aggressively in reality or in the imagination (which will help establish the structure and size of the structure of the branches).

Large trunk with small foliage. Unstable personal balance due to frustration arising from the inability to satisfy basic needs.

The trunk is dim, with a thin outline. Feelings of inadequacy, instability, indecisiveness of the Ego.

A trunk with an accentuated peripheral contour. Conscious desire to maintain control.

The trunk is dead. Feeling a traumatic loss of ego control.

The trunk is broken, the top touches the ground. Expresses the subject's feeling that he has been completely overwhelmed by internal or external uncontrollable forces.

The trunk is inclined first to the left, then to the right. Tendency towards regression, impulsive behavior through strong control and future orientation (in later life).

The trunk is very elegant, with a huge crown. Unstable balance due to excessive desire for pleasure.

The thickness of the trunk shows that the tree was significantly taller. The presence of an acutely traumatic episode in the past.

Bark of tree depicted with fairly isolated sinuous vertical lines. Possibility of schizoid traits in the subject.

Tree bark is easy to draw. Balance in relationships.

The tree bark is depicted meticulously and meticulously. Compulsivity and strong preoccupation with relationships with the environment.

Damage to the tree. A technical or physical experience that is traumatic for the subject.

Overall height. The lower quarter of the sheet is dependence, lack of self-confidence, compensatory dreams of power; the lower half of the sheet - less pronounced dependence and timidity. Three quarters of the leaf is a good adaptation to the environment. The entire sheet is used - the subject wants to be noticed, count on others, assert himself.

Crown height (page divided into eight parts):

1/8 - lack of reflection and control. The norm for a four-year-old child;

1/4 - the ability to comprehend one’s experience and slow down one’s actions;

3/8 - good control and reflection;

1/2 - internalization, hopes, compensatory dreams;

5/8 - intense spiritual life;

6/8 - crown height is directly dependent on intellectual development and spiritual interests;

7/8 - foliage takes up almost the entire page - an escape into dreams.

Sharp top- protects against danger, real or imaginary, perceived as a personal attack; desire to act on others; attacks or defends, difficulties in contacts; wants to compensate for feelings of inferiority, the desire for power; seeking a safe haven due to feelings of abandonment for a firm position, need for tenderness.

Branches. The degree of their flexibility, number, size and degree of interweaving reflect the subject’s view of adaptation, accessibility and ability to obtain satisfaction from the environment.

Branches, absolute asymmetry. Reflects ambivalent feelings, inability to freely dominate any action (emotional or intellectual).

The branches are broken, tilted and lifeless. Significant physical or spiritual trauma to the subject.

The branches are not alive. The subject does not feel satisfied with entertainment.

Branches are depicted by shading or painting. If they are drawn easily and quickly, it shows a tactful, but most likely superficial, interaction with the environment.

The branches are depicted differently (not painted over). Opposition tendencies.

Branches: one-dimensional and two-dimensional, facing inward. Strong intra-intense tendencies.

Branches with an attempt to depict them two-dimensionally, but with “unclosed” tips. The subject has little ability to control his drives.

The branches are two-dimensional, poorly organized, finger- or stick-like. Strong hostility.

The branches are two-dimensional with a relatively good foliage (leaf) system. Refers to the ability to cope reasonably well with matters relating to interpersonal relationships (for example, with social work).

Branches: a young sprout from a scanty trunk. Rejection of the previous traumatic belief that there is no point in seeking satisfaction in one’s environment. Return of sexual powers (possibly if there was impotence before).

Branches facing (or more distinct) to the left. Lack of personal balance due to the tendency to immediately receive sensual pleasure (extratensivity).

Branches facing to the right. Lack of personal balance due to the tendency to delay or avoid sensory pleasures, seeking instead to find them in mental efforts (and, if the subject is of low intelligence, further conflict on this basis is obvious).

Branches that look like thorns (thorns). Subconscious fear of castration. Masochistic tendencies.

Branch structure. Degree of satisfaction with reality. Areas of contact.

Branch structure: narrow and long. Fear in search of satisfaction in the environment.

The leaves are two-dimensional, excessively large for branches. Obsessive-compulsive traits. The desire to hide deep feelings of inadequacy under superficial adaptation. Overcompensation efforts to immerse oneself in reality.

The roots going into the ground are clearly visible. A strong desire to maintain the existing perception of reality. Insecurity.

Roots that resemble bird claws and do not penetrate the ground. Weak contact with reality. Paranoid-aggressive traits.

The roots are thin, weak contact with the ground. Weak contact with reality.

The roots are dead. Lack or loss of internal balance, which indicates pathoform flaws in the perception of reality and needs. Obsessive feelings associated with early experiences.

The earth, its transparency, the image of invisible roots. Platform isolation from reality (exception - children's drawings). In adults, organic matter is suspected (with average or above average intelligence).

The contour of the earth in the shape of a mountain. The tree placed in this way reflects the oral fixation often associated with the need for maternal care. If the tree is small, there is a pronounced dependence on the mother with an experience of isolation and helplessness. If the tree is small, there is a strong need for dominance and exhibitionism.

Color: its conventional use. Green - for branches, leaves. Brown - for the trunk.

Color, combination of black and green. Schizoaffective type of reaction.

The details are significant. A trunk and at least one branch (with the exception of the stump pattern, which should be regarded as abnormal).

Movement. Reflects significant environmental pressure. The more arbitrary, violent, and unpleasant the movement, the more pathoform it is.

Perspective "under the subject". The “surrender without resistance” attitude. Tendency towards specificity. Rejection of a person, who for the subject symbolizes a tree.

Perspective: partially downhill. Experiencing efforts and struggles for autonomy and independence. Often reflects tension when striving for a distant, perhaps unattainable goal.

An animal looking out of a hollow in a tree. The feeling of the presence in the personality of a pathoform, uncontrollable part that has destructive potential, for example, an obsessive feeling of guilt.

Shadow. A factor that contributes to the strengthening of anxiety at a conscious level. Insufficient, unsatisfactory relationships for the subject in the past, which are reflected in the present.

The sun, its position. The relationship between wood and heat source (or environment). Often reflects the subject’s experience of a relationship with a dominant person in his environment.

The sun behind the tree. Sometimes the subject may interpret the tree as someone in his environment interfering with his relationship with a valued person, or as a subject protecting someone from an undesirable person.

The sun: a cloud between it and the tree. Reflects an alarming, unsatisfactory relationship between the subject and some person.

The sun, its rays fall on the tree. The need to dominate or feelings of being dominated by another.

The sun is in the north. Experiencing a cold environment.

Setting sun. Feeling depressed.

Sun: the tree avoids it. The tendency to avoid being dominated by someone who contributes to the traumatic experience of inadequacy.

The sun is big. An acute experience of a relationship with some authority figure.

Wind. Symbolizes the subject’s experience, which is difficult to control.

The wind blows from the ground to the top of the tree. Compulsive desire to escape from reality in fantasy.

The wind blows from the tree towards the subject. Narcissistic tendencies.

The wind blows in all directions. The experience of trying, but failing, to test reality.

Human

Human. The subject's point of view on his own person (psychological and physical aspects). Ideal image subject. The concept of the sexual role of the subject. The subject's approach to interpersonal relationships in general or specific interactions. Certain specific phobias, obsessive beliefs. A person who is especially unpleasant to the subject from his environment. A face that is especially pleasant from the environment. A person towards whom the subject is ambivalent.

The man is an absolute profile. Serious detachment, isolation and oppositional tendencies.

The profile is ambivalent.(Certain parts of the body are depicted on the other side in relation to the rest, looking in different directions). Particularly strong frustration with a desire to get rid of an unpleasant situation.

Human: visible violations of proportions in relation to the right or left side. Sexual role disorders. Lack of personal balance.

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

Stick Man. Often found in psychopaths or people who find communication with people a burden.

Movement. The more unpleasant, intense, violent, and involuntary the movement, the more pathoform it is.

A man in a blind flight. Panic fears are possible.

Man in a controlled run. The desire to run away. A clear desire to hide from someone or achieve something.

A man in a smooth, easy step. Good adaptability.

The details are significant. Head, torso, two arms, two legs. Except when explained by the subject or when the person is shown in profile. Also two eyes, two ears, nose, mouth.

Head. Sphere of intelligence (control). Sphere of imagination.

Head. The drawing expresses antipathy towards the head. Expresses prevarication and avoidance, sometimes guilt. The desire to establish conditions for the subject's acceptance by others.

Head, emphasizing its peripheral contours. Significant efforts to maintain control in order to hide the excitement of fantasy and possible obsessive or delusional ideas.

The head is big. Unconsciously emphasizing the belief about the importance of thinking in human activity. Emphasizing imagination as a source of pleasure. If the head is disproportionately large in relation to the body, organic matter is suspected.

The head is small. Often found in drawings of obsessive and compulsive individuals. The desire to reject the control of the mind, which prevents the satisfaction of bodily desires. The desire of an obsessive personality to deny painful experiences and guilt. Experience of intellectual inadequacy.

The head is turned to the back of the head. Pathognomic detachment, alienation, autism of paranoid schizoid.

The face is emphasized. Strong preoccupation with relationships with others, with one's appearance. If the subject tries to give a happy expression to his face, he probably feels the need to maintain the desired (expected) face.

Facial features(includes eyes, ears, mouth, nose). These are receptors for external stimuli. Sensory contact with reality.

The facial features are depicted later than his oval. Tendency to ignore receptors external influences. The tendency is to delay personal identification as much as possible.

Some facial features are masculine, some are feminine. Sexual ambivalence.

The eyes are not drawn. Visual hallucinations are possible.

The eyes are depicted as empty sockets. Significant tendency to avoid visual stimuli. Hostility.

Eyes are closed or hidden under the brim of a hat. Strong desire to avoid unpleasant visual stimuli.

Nose: position in place. Insecurity (basic, specific or temporary).

The nose is strongly emphasized. Preoccupation with the phallus. Possible fear of castration. Sexual adaptation is worse if the nose is snub-nosed in a full-face design or is located under the eyes.

The mouth is strongly emphasized(see facial features). Psychosexual relationships, fixations, immaturity. Often expresses feelings of guilt and/or anxiety about oral erotic impulses.

The mouth is too big. Oral eroticism.

Teeth protruding forward. Aggression (usually only in speech terms).

The chin is too emphasized. The need to dominate (more socially than sexually).

The chin is not clearly defined. Experience of impotence (more social than sexual).

The ears are emphasized, but the face is not finished. Auditory hallucinations are possible. Sometimes found in well-adjusted mentally retarded or young normal children.

The ears are too emphasized. Auditory hallucinations are possible. Occurs in those who are especially sensitive to criticism.

The ears are small. The desire not to accept any criticism, to drown it out.

Hair. A sign of masculinity (bravery, strength, maturity) and the desire for it.

The hair is heavily shaded. Anxiety related to thinking or imagination.

Hair is not shaded (not painted over), frame the head like pincers. The subject is controlled by hostile feelings.

The hair is long and undyed. Strongly ambivalent fantasies about sexual desires.

Beard. A substitute for the phallus, a sign of the need to demonstrate masculinity.

Mustache. Phallus substitute symbol.

Neck. An organ symbolizing the connection between the sphere of control (head) and the sphere of drive (body). Thus, this is their focal point.

Neck. The main contour, pass, from the profile. Uncontrollable basic bodily drives, weakness of control. The neck is long and thin. Schizoid traits.

The neck is missing. The subject is under the power of his bodily instincts, which often completely captivate him.

The neck is one-dimensional. Weak coordination of drives and intellectual control.

Neck shown out of order. Conflict between control and expression of emotions.

Torso. Location of basic needs and drives.

Lack of torso. Denial of bodily desires. Loss of body schema.

The body is long and narrow. Schizoid traits.

The body is too large. The presence of a large number of unsatisfied needs that are acutely recognized by the subject.

The body is abnormally small. Denial of bodily desires or feelings of humiliation or worthlessness.

Shoulders, their sizes. A sign of physical strength or need for power.

Shoulders are small. Feeling of unworthiness, insignificance.

Shoulders are overly large. Feelings of great power or excessive preoccupation with power and authority.

Shoulders are unequal. No internal balance (possibly because of the sexual conflict). The smaller shoulder is more like a woman's, the larger one is more like a man's.

Shoulders too angular. A sign of excessive caution, protection.

The shoulders are gracefully drawn and rounded. An expression of smooth, flexible, fairly well-balanced strength.

The breasts are very emphasized. Psychosexual deviations and sexual intercourse, immaturity. Dependence on mother.

Nipples: number, variety, complexity. Regression or fixation at a low level of oral dependence (in adults with average or low intelligence). Strong dependence on mother (in children).

Waistline. Expression of coordination between desires for sweetness (upper half of the body) and sexual desires (lower half).

The waistline is strongly emphasized. Strong conflict between the expression and control of sexual desires.

The hips are very emphasized. Psychosexual deviations and fixations, immaturity. Tendency towards homosexuality (especially in men).

The muscles are accentuated, little covered by clothing. Expresses bodily “narcissism” and the desire to become schizoid, self-absorbed.

Hands. Basic desire to fight. Tools for managing and changing the environment.

Hands. Tools for more perfect and sensitive adaptation to the environment, mainly in interpersonal relationships.

No hands. Feelings of inadequacy with high intelligence.

The hands are drawn last. Significant reluctance to hasty, close, frank connections with the environment. Sometimes this is due to an attempt to hide feelings of inadequacy.

Hands in the position of protecting the pelvis (hips). Fearful fear of sexual approach. Excessive interest in sexual problems.

Hands in pockets. Controlled evasion (wiggling). The subject changes depending on the fact that he keeps his hands in his pockets. Sometimes reflects the impulse effect of masturbation.

Arms crossed on chest. Hostile and suspicious attitude.

Hands behind your back. Reluctance to give in, to compromise (even with friends). The tendency to control the manifestation of aggressive hostile impulses.

Arms tense and pressed to the body. Clumsiness, rigidity.

Arms not depicted as one with the body, but separately, or across the back, extended to the sides. The subject sometimes catches himself in actions or actions that are out of his control.

Wide arms(swing). Intense desire for action.

Wide arms at the palm or shoulder. Poor control of action and impulsivity.

Thin hands. Experiences of weakness and futility of efforts.

The arms are very short. Lack of aspiration coupled with feelings of inadequacy.

Hands are relaxed and flexible. Good adaptability in interpersonal relationships.

The arms are long and muscular. The subject needs physical strength, dexterity, and courage as compensation.

The arms are too long. Overly ambitious aspirations.

Hands are too big. A strong need to better fit into social relationships, with feelings of inadequacy and a tendency to engage in impulsive behavior.

Hands like wings. Sometimes found in drawings of schizoids.

The hands are often shaded. Feeling guilty about some real or imagined manual activity (eg, masturbation, rape).

Legs, lack thereof. Pathological experience of stiffness. Fear of castration.

Legs widely spaced. Outright neglect (insubordination, ignoring, or insecurity).

Legs crossed. Protection from sexual advances.

The legs are not sufficiently separated from each other. Significant sexual conflict. Strong homosexual tendencies accompanied by guilt and anxiety.

The legs are strongly shifted. Rigidity and tension. Poor sexual adaptation is possible.

Legs are unequal sizes. Ambivalence and desire for independence.

Legs are disproportionately long. Strong need for independence and desire for it.

Legs are too short. Feeling of physical or psychological uneasiness.

The knees are accentuated. Presence of homosexual tendencies.

Feet. Sign of mobility(physiological and psychological) in interpersonal relationships.

The feet are disproportionately long. Need for security. The need to demonstrate masculinity.

The feet are disproportionately small. Stiffness, dependence.

The feet are too detailed. Obsessive traits with a pronounced feminine component.

Feet: on the tips of the toes. Subtle, refined perception of reality. Strong need to fly.

The feet are facing in different directions. Strong ambivalent feelings (in drawings with above average intelligence).

The fingers are large, similar to nails (spikes). Hostility.

The fingers are one-dimensional, surrounded by a loop. Conscious efforts against aggressive feelings.

The fingers are drawn last. See the hands are drawn last.

Deformation of any part(s). Reflects similar or similar true deformities in the subject or poor adaptive responses due to them (or what they symbolize).

Broken lines. Fearful anxiety, insecurity.

Unconnected lines, movement of some body parts. Tendency to psychosis.

The patient accidentally writes his name mechanically. Selfishness, narcissism, selfishness.

Mask. Caution, secrecy, possible feelings of depersonalization and alienation.

A tube. Concentration on the sexual sphere, strengthening masculinity.

Tube in mouth. Complex, elaborate oral eroticism.

Tie. Strengthening masculinity. Sexual inferiority.

The tie is fluttering and sloppy. Overt sexual aggression, focus on the sexual sphere.

The tie is highly emphasized. There may be preoccupation with the phallus with the experience of impotence.

The neckline of the dress is in the shape of a “y” (toe) in the figure of a woman (the patient is a man). Fixation on the chest, voyeuristic tendencies.

Pocket. Affective deprivation. Dependence on mother.

The pocket is highlighted. Dependent psychopath.

Multiple pockets(male figure, male patient). Passive homosexual tendency.

Belt(belt) often hatched. Strong conflict between the expression of sexual (and other) desires and their control.

Transparent details. Gaps in thinking, voyeurism (depending on the place of transparency).

Transparent pants(legs visible). Fearful anxiety about homosexuality.

Flowing trousers. Preoccupation with masturbation.

Women's ankle length skirt(the patient is a man). Mother figure.

A cowboy or soldier uniform on a male figure (the patient is a man). The need for inflated status and recognition compared to the subject’s.

Shoe laces, wrinkles, other unnecessary details. Obsessiveness - compulsiveness.

Weapon. Aggressiveness.

Hairdryer Environment.

Clouds. Anxiety, apprehension, depression. Fence for support, contour of the ground. Insecurity.

Figure of a man in the wind. The need for love, affection, caring warmth.

Literature: Practical psychology. Projective techniques. / V. B. Shapar, O. V. Shapar. - Rostov n/d: Phoenix, 2006. - 480 p. (Psychological Faculty).

Methodology “HOUSE - TREE - PERSON” by J. Book.

Projective methodology for personality research. 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. A detailed survey is then conducted. The author justifies the choice of objects for drawing by the fact that they are familiar to every subject, are the most convenient as objects for drawing, and, finally, stimulate freer verbal statements than other objects.

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

From the drawing one can judge the affective sphere of a person, his 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 technique as a tool for measuring intelligence and personality traits. The test is used in Russia and is included in the Kern-Jerasek method.

Instructions

Material:

* a white sheet of paper, folded in half and thus forming 4 pages measuring 15x21. The first page is intended for recording the date and recording the necessary data concerning the subject, the next three pages are reserved for drawings and, accordingly, are entitled House, Tree, Man;

* post-drawing survey form;

* some simple pencils No. 2 with erasers (pencil No. 2 was chosen because it was found to more accurately reflect the subject's motor control, pressure, and quality of lines and shading);

* quantitative processing form;

* management.

Individual testing

In individual testing, the researcher places a picture form in front of the subject so that he sees only the second page with the word “Home” located at the top from the subject’s point of view; after which he pronounces the instructions:

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

If the subject refuses (middle-aged and elderly people do this often), stating that he is not an artist, that when he went to school he was not taught how to draw the way they do now, etc., the researcher must convince the subject that The DDT is not a test of artistic ability; it is not interested in the subject's ability to draw as such. If the subject asks for a ruler or tries to use an object as a ruler, the examiner should tell him that the drawing must be done by hand. This is followed by similar instructions for tasks involving drawings of wood and the human figure.

Record.

While the subject draws the house, tree and person, the researcher must write down each time;

1) the following aspects regarding time: (a) the amount of time that passed from the moment the researcher provided instructions until the moment the subject began drawing; (b) the duration of any pause that occurs during the drawing process (correlating it with the execution of a particular detail); (c) the total time spent by the subject from the moment he was given instructions 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 images of details that occur in the work of well-adapted subjects usually turn out to be significant; an accurate recording of such a case is necessary, since failure of the researcher to notice the deviation of the subject 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, tree and person and correlate each such comment with the sequence of details. The process of drawing these objects may provoke comments that at first glance are completely inappropriate to the objects depicted, which, however, can provide a lot of interesting information about the subject;

4) any emotion (the most insignificant) expressed by the subject during the test and associate this emotional expression with the detail depicted at that moment. The process of drawing often evokes strong emotional manifestations in the subject and these should be recorded.

To take notes more successfully, the researcher must ensure 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 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 investigator to observe the drawing process.

To make it easier to record sequences of parts, spontaneous comments, etc., the researcher can use the recording system given below as an example.

House

2. Window with glass on the roof.

3. Roof over porch (main wall) - “I can take the tools and do it much better” (intense laughter).

4. Porch posts.

6. Window, top right, with glass.

7. Window, lower left, with glass.

8. Window, top in the center, with glass.

9. Windows (left and right) on the sides of the door, with glass.

10. Window, top left, with glass.

11. Upper window in the center, with glass.

12. Roof material.

13. Side porch roof and post.

14. “Perhaps this is all that could be drawn, except for the garage.”

15. Foundation.

16. Pause 18 sec.

17. “A Pair of Trees.”

18. Tree on the left, then tree on the right.

19. Road from the side porch.

20. Path from the front entrance.

21. “Let’s allow it here” - bush.

Time - 5 min 13 s

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

The connection 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 recorded before a detail, but under one item, then it took place at the time when the subject began to draw this detail. If a comment or emotion was recorded under the same item as the detail, but after it, then it happened later. If, apart from a spontaneous statement or emotion, nothing is recorded in the item, then this happened after the previous detail was completed and before the next one was started.

Post-drawing survey.

After the nonverbal phase of the DDT 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 could not express before. Obviously, if the subject is less withdrawn and hostile and more intelligent, the second phase of the DDT may be more productive.

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

PRO is not a strictly limited procedure; the researcher can always continue the survey in a direction that is productive in his opinion. In all cases, he must determine exactly what meaning the stimulus words “House”, “Tree” and “Person” have for the subject.

Post-Picture Survey Form

Part 1. Is it a man or a 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 were drawing?

Ch6. What is he doing? (and where is he at this time?)

Ch7. What is he thinking about?

Ch8. How does he feel?

Ch9. What does the drawn person make you think about?

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. How do you feel towards this person?

Ch16. Do you think this is true 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 most? Why?

Ch20. How is this person dressed?

Dr1. What kind of tree is this?

Dr2. Where exactly is this tree 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 any dead parts? If so, which one exactly?

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, in your opinion, caused the death of the tree?

b) When do you think this happened?

Dr6. 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 was a person here instead of a tree, which way would he be looking?

Dr9. Does this tree stand 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 blows?

Dr14. Tell us in more detail, what kind of wind is this?

Dr15. If you drew a 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 most? Why?

Dr25. If instead of a bird (another tree or another object in the picture that is not related to the main tree), there was a person, who could it be?

D1. How many floors does this house have?

D 2. Is this house made of brick, wood or something else?

DZ. Is this your home? (if not, whose is it?)

D4. When you painted this house, who did you imagine as its owner?

D5. Would you like this house to be yours? Why?

D6. If this house was yours and you could dispose of it as you want:

a) Which room would you choose for yourself? Why?

b) Who would you like to live with in this house? Why?

D 7. When you look at a drawing of a house, does it seem 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 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 these qualities are common to most homes? Why?

D14. What do you think the weather is like in this picture?

D15. Who does this house make you think of? Why?

D16. What does this house need 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 is not related to the house itself) there was a person, who could it be?

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

For example, the researcher should ask the subject about the meaning of unusual features in a drawing of a house, such 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) as the period of early childhood, the top of the tree as the present age of the subject, and the distances between them as the intermediate years. For example, if a 30-year-old subject drew a scar at approximately one-third of the trunk's height from its base, then the traumatic episode could conceivably occur at 9-11 years of age. The researcher might ask, “What unusual thing happened to you when you were about 10 years old?” It is assumed that the subject can reflect in the drawing 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 a shadow in the figure is of great importance and can represent: 1) a symbolization of 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 a conscious level, because usually shadows are depicted on the ground, which symbolizes reality. Deterioration of intellectual performance is confirmed by absent-mindedness; the shadow presupposes the subject's awareness of the existence of another element - the sun, which is usually forgotten to be drawn, this, in turn, has a certain qualitative meaning. The researcher needs to pay attention to what surface the shadow falls on: water, earth, snow or ice...

In addition, he must find out the possible meaning of scars or injuries in the person’s drawing.

The researcher should try to get from the subject an explanation for the absence of ordinary details - windows, doors or a chimney in the drawing of the house; branches in a tree drawing; eyes, ears, mouth, feet, etc. in a drawing of a person - if the assumption about the mental retardation of the subject is unfounded.

If some unusual positional relationships of objects are noted in the drawing, then it is necessary to determine what caused this. For example, if a lopsided house, a tree leaning to one side or a tree with a twisted trunk, or a person who appears to be falling are drawn, the researcher should ask the subject to explain the reason for this situation. As mentioned above, in a drawing of a tree, each side has its own temporal meaning (the right 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 rule does not apply to drawing a person, because - if we talk about drawing a person in profile - a right-hander usually draws a figure facing to the left, and a left-hander usually draws a figure facing to the right.

The investigator should try to determine the reasons for any unusual position of the arms or legs of the person drawn. If a person is drawn in absolute profile (i.e., so that only one side of him is visible, and there is no evidence of the existence of the other), the researcher should ask the subject to describe: 1) the position of the invisible hand, 2) if anything is in this hand, what exactly, 3) what the person drawn with this hand is doing.

There is no time limit for the post-drawing survey. However, if the survey is lengthy and exceeds the length of the formal portion (64 questions and the follow-up survey above), then it may be best to reschedule completion for the next session.

It has been found that it is sometimes very useful to let the subject express his associations regarding the content of the drawings and the ABM.

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

Group testing

All other things being equal, the DFC technique is more productive with individual testing than with group testing. However, it is obvious that this technique has secured a certain position among group tests. As such, it is best used as a screening test to identify subjects within a group 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 must ask the subjects to draw the best possible picture of a house, a tree and a person in the order listed and tell them that they can erase what they have drawn as much as they want without fear of penalties, that they can spend as much time as they need, and that every one, as soon as he has finished any drawing, should report it to the investigator, so that he may 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 subjects should be fully informed of this before they begin to draw.

The researcher must show the subjects the drawing form and demonstrate each page for them to complete the corresponding drawing. After this, they can begin completing 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 around quietly, observing them, and record instances of emotional manifestations, unusual sequences of details, etc., whenever he notices something similar. Obviously, the observation will not be as complete as with individual examinations.

Post-drawing survey.

The researcher should give each subject an ABM form and ask them to respond in writing to the questions printed on the form.

Interpretation.

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

Home away - a feeling of rejection (rejection).

Home nearby - openness, accessibility and/or a feeling of warmth and hospitality.

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

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

The shutters are closed - the subject is able to adapt in interpersonal relationships.

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

Walls

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

The outline of the back wall is much brighter (thicker) compared to other details - the subject strives 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 conflicting tendencies, experiencing difficulties and anxiety.

A wall with an accentuated horizontal dimension means poor orientation in time (dominance of the past or future). The subject may be 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 perspective - only one side is shown. If it is a side wall, there are serious tendencies towards alienation and opposition.

Transparent walls - an 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 fewer contacts with reality than is desirable.

Doors

Their absence - the subject experiences difficulties in trying to open up to others (especially in the home circle).

Doors (one or more), back or side - retreat, detachment, avoidance.

Doors are open - the first sign of frankness and achievability.

The doors are open. If the house is residential, this is a strong need for warmth from the outside or a 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 - reluctance to let you into your “I”. Feelings of inadequacy, inadequacy, and hesitancy in social situations.

Doors with a huge lock - hostility, suspiciousness, secrecy, defensive tendencies.

The smoke is very thick - significant internal tension (intensity based on smoke density).

Smoke in a thin stream - a feeling of lack of emotional warmth at home.

Window

The first floor is drawn at the end - aversion to interpersonal relationships. Tendency to isolate from reality.

The windows are very open - the subject behaves somewhat cheekily and straightforwardly. Many windows show a readiness for contacts, and the absence of curtains shows a lack of desire to hide one’s feelings.

The windows are closed (curtained). Concern with interaction with the environment (if this is significant for the subject).

Windows without glass - hostility, alienation. The absence of windows on the ground floor means hostility, alienation.

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

Roof

The roof is a realm of fantasy. The roof and chimney, torn off by the wind, symbolically express the subject's feelings of being commanded, regardless of his own willpower.

The roof, the bold outline, unusual for the drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

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

Roof, thick outline of the edge - excessive preoccupation with control over fantasy (its curbing).

A roof that does not fit well with the lower floor is a bad personal organization.

The eaves of the roof, its accentuation with a bright outline or extension beyond the walls, is a highly protective (usually suspicious) installation.

Room

Associations may arise due to:

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.

A room that does not fit on the sheet is the subject’s reluctance to depict certain rooms due to unpleasant associations with them or with their occupant.

The subject chooses the nearest room - suspiciousness.

Bath - performs a sanitary function. If the manner in which the bath is depicted is significant, these functions may be impaired.

Pipe

Absence of a pipe - the subject feels a lack of psychological warmth at home.

The pipe is almost invisible (hidden) - reluctance to deal with emotional influences.

The pipe is drawn obliquely in relation to the roof - the norm for a child; significant regression if found in adults.

Drainpipes - enhanced protection and usually suspiciousness.

Water pipes (or roof drains) - enhanced protective installations (and usually increased suspiciousness).

Add-ons

The transparent, “glass” box symbolizes the experience of putting oneself on display for everyone to see. He is accompanied by a desire to demonstrate himself, but limited only to visual contact.

Goal: Identifying personality traits

Test “HOME. TREE. MAN" (DCH)

American psychologist J. Buck (1948) was the first to create and develop in detail a system for interpreting the DDH test. The projective features of this test are due to the uncertainty of the presented stimulus. The words “house”, “tree”, “person” are familiar to everyone, but they are non-specific, and therefore, when performing the task, the subject is forced to project his representation of each object and his attitude towards what this object symbolizes for him. In addition, the stimulus words themselves “house”, “tree”, “person” not only are not classes of objects, but also carry certain emotional loads. Therefore, the child’s emotional reaction during or in a conversation after drawing most often represents a personally significant reaction to an attitude, desire, feeling or object directly or symbolically present in the drawing. It is believed that a drawing of a house, a tree, a person is a kind of self-portrait of the person drawing, since in his drawing he represents those features of objects that are, to one degree or another, significant for him.

To perform the DDH test, the child being studied is offered paper, a pencil, and a piece of paper. A standard drawing sheet is folded in half. On the first page in horizontal position at the top is written “HOUSE”, on the second and third in a vertical position at the top of each sheet are “TREE”, “PERSON”, respectively, on the fourth - the name and surname of the subject, the date of the study. For drawing, a simple 2M pencil is usually used, since when using this pencil, changes in pressure are most clearly visible.

Instructions for the child : “Please draw a house, a tree and a person.” All clarifying questions from the subject should be answered that he can draw the way he wants. The test itself consists of two parts: the drawing process and the conversation after it. Observing how a child draws provides a wealth of information. Usually all spontaneous utterances are recorded, and any unusual movements are noted. When the child finishes drawing, he is asked a series of questions about his drawings. The interview usually begins with a drawing of the person. For example, they ask when he drew, the age of the boy or girl he drew, what he is doing, what his mood is, whether he resembles anyone he knows. Usually, a survey about the drawings develops into a conversation about the child’s life ideas.

Qualitative analysis of drawings is carried out taking into account their formal and content aspects. Informative formal features of a drawing are considered, for example, the location of the drawing on a sheet of paper, the proportions of individual parts of the drawing, its size, coloring style, pencil pressure, erasing the drawing or its individual parts, highlighting individual details. Content aspects include the features, movement, and mood of the drawn object.

To analyze drawings, assessment aspects are used - details of the drawings, their proportions and perspective. The details of the drawing are believed to represent a person's awareness and interest in an everyday situation. The subject can show in his drawing which details have personal significance for him in two ways: positive (if, while working on the drawing, the child emphasizes or erases some details of the drawing, as well as if he returns to them) or negative (if he misses the main details of the drawings). objects).

The interpretation of such significant details or complexes of details can reveal some conflicts, fears, and experiences of the painter. But the meaning of such details should be interpreted taking into account the integrity of all drawings, as well as in collaboration with the drawer, since symbolic meaning details are often individual. For example, the absence of such basic details of a person's drawing as a mouth or eyes may indicate certain difficulties in human communication or its denial. In the study, it is necessary to pay attention to the fact that children suffering from juvenile rheumatoid arthritis more often drew children with arms hidden behind their backs, as well as without legs, or with arms or legs highlighted in some way. This indicates that children are experiencing pain in the joints, often their deformation.

The proportions of a drawing sometimes reflect the psychological significance, importance and value of things, situations or relationships that are directly or symbolically represented in the drawing of a house, tree, or person. Proportion can be considered as the ratio of a whole design to a given space of paper, or as the ratio of one part of a whole design to another. For example, very small drawing a person may show a feeling of inadequacy of the subject in his psychological environment or a desire to austically escape the situation. Perspective is believed to show a person's more complex relationship to his psychological environment. When assessing perspective, attention is paid to the position of the drawing on the sheet in relation to the viewer (view from above or below), mutual arrangement individual parts of the drawing, the movement of the drawn object. For example, a person drawn in motion (running, dancing, playing) most often shows the child’s active creative attitude towards his life.

To quantitatively evaluate the DDS test, generally accepted qualitative indicators were grouped into the following symptom components:

1. Insecurity.

2. Anxiety.

3. Lack of self-confidence.

4. Feelings of inferiority.

5. Hostility.

6. Conflict (frustration).

7. Difficulties in communication.

8. Depression.

Each symptom complex consists of a number of indicators that are scored. If the indicator is missing, zero is entered in all cases. The presence of some signs is assessed depending on the degree of severity. Thus, the presence of clouds in one picture is 1 point, in two – 2, and in all three – 3 (symptom complex “Anxiety”). If most features are present, 1 or 3 points are given depending on the significance of this feature in the interpretation of a single picture or the entire integrity of the test picture. For example, the absence of basic facial details (eyes, nose or mouth) – 2 points (symptom complex “Difficulties in communication” (see Table 1). The severity of a symptom complex is shown by the sum of points of all indicators of a given symptom complex.

Symptom complexes DHD test

Drawings of a house, a tree, and a person can only be interpreted when the child has drawn them in a standard test situation. Of course, it is possible to psychologically analyze other visual activities of the child, but in these cases slightly different methods of interpretation are used. For example, if during a test a child draws only a house, or a house in some landscape, then it is clear that the assessment of the location of the house on the sheet, its size, perspective and additional details will vary significantly.

When interpreting the DHD test, it is necessary to assume the integrity of all drawings. The presence of only one sign does not indicate the presence of a certain psychological feature. Sometimes the interpretation hypotheses that arise can be tested in a conversation with the child. It is very interesting for a teenager to find out for himself what his drawings say about him.

The psychologist must structure the conversation so that any characteristic does not become a suggestive cliche that can negatively influence the formation of the teenager’s future character. By avoiding an explicit assessment of the identified psychological characteristics, it is possible to outline possible ways for the child’s self-education. On this last stage elements of psychological correction are especially striking.

The DHD test is especially advisable to use at the beginning psychological consultation because it can show what the main problem of the child being counseled is: emotional or in the area of ​​intellectual development.

If a child draws noticeably worse than most of his peers, if the drawings have poor perspective and inadequate proportions, the basic details of the objects being drawn are not present, if the quality is poor in all three drawings, then one can think about a possible mental retardation. In this case, further research should be aimed at identifying the child’s intellectual characteristics.

If among the drawings only one is of poor quality, we can assume that it causes the most vivid emotional reaction of the drawer. When the drawings reveal a greater severity of several symptom complexes, it can be assumed that the resolution of emotional problems is important for this child. Of course, it often happens that a child may have personal and emotional problems due to the inability to meet the required intellectual level. This is also usually projected in drawings. DDH test patterns may indicate organic CNS dysfunction. There are five indicators of organic damage to the central nervous system:

1. Double lines in drawings.

2. Lines not connected to each other.

3. Strong slant of the drawn figure.

4. Very large head.

5. The head is inadequately highlighted in the drawing of a person.

The presence of more than three signs in the drawings suggests that the child who drew has an organic lesion of the central nervous system. This problem is important in the psychological diagnosis of underachieving primary schoolchildren. But it must be borne in mind that the presence of organic dysfunction of the central nervous system does not yet indicate a child’s mental retardation. Often this can manifest itself as a local difficulty in certain areas of intellectual activity or at certain stages. Such children, for example, may get tired more quickly and be less attentive. These features require special attention in the organization educational process at school and at home. Sometimes there are children with mild forms of dysgraphia or dyslexia who find it difficult to learn to read or write, but some easily overcome these difficulties when they are taught using special adequate methods.

A long awkward pause in company or just to entertain yourself and your friends. Spend this quick psychological test.

All you need to do is give everyone a piece of paper and a pen, ask them to draw a house, and then evaluate the results. The interesting thing is that a few details of the image are enough to sum up the results.

Interpretation of drawings

Decoding of building options:

"High-rise building"

People with a difficult character, secretive, as a rule, depict a house with many floors. It can also be said about such a person that he often delves into himself, in his experiences and tends not to notice his surroundings.

One-story building.

If you saw a private small house in the drawing, then you can say with confidence that the person who owns the drawing is very tired of everyday difficulties, bustle and needs a calm atmosphere, comfort and serene thoughts. Advise him to leave his problems for a while and rest for a few weeks to preserve his physical, moral and spiritual health.

Lock

A person who is carefree, superficial, and frivolous will most likely depict a castle. This is not an indicator of something bad, especially if the drawing belongs to women, however, starting a family, striving to occupy a high position, or making colossal plans is not yet recommended. There is a high probability of not being able to cope with the assigned responsibility.

Spacious village house

The owner of such a picture is in thoughts related to housing. Be it the purchase of a new property or a simple renovation.
If the author of the drawing is a man or does not have children, then we can assume that he wants to start a large, friendly family.

Decoding the details of the picture quick psychological test:

The house is behind a high fence

If the picture shows high fence, then this indicates a secretive character. There is a pattern here - the larger the fence, the more a person has fenced himself off from the outside world. However, if there are plants around the house, then the person is sociable and open to others.

Availability of windows

A person who wins people over, is responsive, the picture shows a large open window. And for those who are inclined to judge, live only for themselves and not let anyone outside into their lives, there will be several small windows in the house, perhaps lattice.

Doors

An open, welcoming person who is ready to welcome everyone with open arms will draw a door in the middle of the house, and if you see a porch, then this is an even greater indicator of generosity and openness. A closed door depicts chained people, while an open door indicates a sociable author. A door located on one side of the house indicates a person who has difficulty making contact with others and prefers to be alone with himself. A large door on the entire facade indicates such human qualities, as innocence, rashness, as well as excessive, super-dimensional generosity.

Pipes

If there is no pipe in the drawing, or there is one, but no smoke comes out of it, then the artist is most likely a disappointed person in life and, unfortunately, is stingy in showing emotions. A pipe with smoke testifies to nobility, and if it is drawn by some small details, then we can confidently say that in front of you is a cheerful, cheerful person.

Psychological tests are quick They allow you to defuse the situation, entertain the company and learn a little more about yourself and those around you. We also recommend taking a short test: what is your character by answering just ten questions.