Google Pictures Test House Tree Man. Methodology of the study of the person "House - Tree - Man
The test below is very often used in the diagnosis of child readiness to school, "school maturity".
we know that the drawing of a child can tell about many things, because Reflects the spiritual state of the child, the content of its inner world, relationships with loved ones. Even the unprofessional may be noticeable "positive" and "negative" elements of children's creation. True, when it comes to interpretation, it should always be remembered, dear parents that the correct and complete interpretation of the drawing (and children and adult) is definitely the work of the hands only a professional.
However, from the fact that we will use some knowledge, consider the picture of the child carefully and try to understand what worries your baby, it will not harm.
today, I propose to use one of the most famous methods for researching a person proposed by J. Buku back in 1948. The test is called "House. Tree. Man."
Because it is believed that the concepts of "house", "tree", "man" do not carry some obvious emotional significance in itself, then everything that expresses the child in these drawings, and all that he attributes to these objects is his own Emotional reactions expressed in explicit or symbolic form. Each of these objects must be viewed as a self-portrait, since the child gives it some features that have a value for it.
etodique consists of two stages: on the first - the child creates drawings, on the second - a conversation is held when the child describes and explains the drawn.
burn to the child with the following words: "Draw a house as much as possible."
ak only he will start drawing, check out the time to know how much its child is on the drawing. As usual, the use of additional devices is not provided. After the child finishes the image of the drawing, ask him to draw a tree and then a person.
the child is working on the drawing, you must watch it and take notes regarding the time spent time arising in the painting of the pause (during the drawing of which detail it originated how long continued), deviations from the normal sequence of the image of the elements of the house, tree and man made Child comments and expressed emotions.
the dose of how all the drawings are finished, go to the conversation. Below is a list of questions that will help you clarify all the obscure moments and get important information about the child.
How many floors at this house?
Is this house brick, wooden or some other?
Is this your home? (If not, whose he is?)
When did you draw this house, did you think who is his owner?
Would you like this house to be yours? Why?
If this house was yours:
What room would you choose yourself? Why?
Who would you like to live in this house? Why?
Is this house located somewhere far or close?
What do you think when you look at this house?
What does he remind you about?
This home is friendly, friendly?
Does it look like other houses or is something different?
What is the weather in this picture?
What is missing in this house?
Where does the track lead from the house?
If a person was near, who would it be?
What is this tree?
Where is this tree in reality?
What is the approximate age of this tree?
Is it a tree alive?
If the child says the tree is alive:
What exactly in the picture confirms that the tree is alive?
Does the tree have some kind of dead part? If there is, what exactly?
If the child believes that the tree is dead:
Why, do you think the tree died?
What do you think when it happened?
What do you think this tree is more like: on a man or a woman?
What exactly does the drawing confirm it?
Is this tree lonely or there are others next?
What do you think, what is the weather in this picture?
Is there a wind in the picture?
Show, Which way is the wind blowing?
Tell me more about what kind of wind is it, what is he?
What makes you think this tree?
What does it remind you about?
Is it a healthy tree?
Is it a strong tree?
If you decided to draw the sun, where would you place him?
Who reminds you this tree? Why?
What is the most of this tree? Why?
Is this a man or a woman (boy or girl)?
How much does he (she)?
Is this your relative, a friend or anyone else?
Who did you think when did you draw?
What does he do? (and where is he at this time?)
What is he thinking about?
What does he feel?
What thoughts come to your mind, looking at him?
Who reminds you of this person?
This man is healthy?
Why do you think so?
Is this man happy?
Why do you think so?
What do you feel in relation to this person?
What is the weather in the picture?
Who reminds you of this person? Why?
What does this person want most of all? Why?
Interpretation
once again, each drawing should be considered as a self-portrait of the child. Analysis of the pattern is carried out in the following sequence: details, proportions, perspective, time, lines, comments. It should be borne in mind that the same element may have a different meaning, it depends on the overall configuration, and also that it can have more than one value.
if a child, drawing one or another item, accompanies this comments, expresses some emotions at this time, probably this item has a special meaning for him. The same conclusion can be done if it violates the natural sequence of the image of the details (for example, it starts a house from the chimney), stiguously erases some kind of pattern, returns to the drawn once or more, spends too much time on the image of the part or depicts it in an unusual The manner leaves the item unfinished, misses the item, despite the fact that it is mandatory, refuses to talk about this detail.
the nonerpretation begins with such an indicator as the number of details. First of all, you should make sure that there are mandatory details.
The house must have at least one door (exception is the case when only a side wall is drawn), one window, one wall, roof and chimney or other means for the exit of the smoke from the furnace or something that can be used to heat the house.
Wood It should have a barrel and at least one branch (if the child did not paint instead of a tree instead of a tree, which is regarded as a very disturbing sign).
Humanmust have a head, body, two legs, two hands, as well as two eyes, nose, mouth and two ear.
touching any mandatory part of those listed above may indicate a violation. The presence of additional parts (bushes, flowers, path) can be interpreted as the desire to fill and streamline the surrounding space, which can be associated with the lack of sense of security, anxiety, insecurity.
radi other alarming signs: the lack of a base line, broken windows, the door in size is less than the window, the window is not a rectangular shape (if it is not an attic window), a transparent roof or wall, through which you can see objects inside the house.
Old, old house, unstable construction passes the critical attitude of the child to itself. If the house consists of several different buildings - it can express a sense of hostility towards someone from people close to him.
The roof indicated by the horizontal line connecting the wall may indicate the inhibition of thinking, the absence of emotions, sharp experiences. High, large roof, as well as emphasizing on it, probably suggest that the child is inclined to fantasies.
The pipe symbolizes the heat of the relationship, so its absence may indicate a lack of heat, care, guardianship or the presence of a conflict in relationships with a close person. If a lot of smoke comes out of the pipe, it is likely that the child is disturbing something, there is an internal tension.
indifferent, that a door implies the possibility of access or retreat; The front door can be both input and output, that is, it symbolizes accessibility, and the rear and / or side door usually represents an output, flight from reality. If there is no door - the child is not available, closed, does not want to contact with others. The open door expresses the need of a child in warm, close relationships, its openness, straightforward, sociability. A very large door may mean that the child is hard to transfer loneliness, requires attention, likes to be the center of attention. Too little door testifies to opposite trends: extreme closure, denial of any contacts, unwillingness to allow themselves to others.
If the door is drawn on the door, it can be interpreted as a secrecy, perhaps even hostility, the need for protection. The need for protection also says the presence of a fence near the house.
The window is an image of visual contact. A closed, who passed the child can manifest his hostility in what draws windows without frames, does not draw the windows at all or does not draw them on the first floor; draws windows, but complements their shutters, hatching, curtains, curtains, etc. If the windows are drawn highly from the Earth - it may designate some tearing of a child from the life realities and the preference of imaginary worlds. The child who painted the windows last of all, expresses the desire for solitude, the reluctance to contact with others. Opened windows may indicate straightness, sense of confidence, some pride.
A large, very large tree can serve as an expression of an aggressive relationship. If the drawing consists mainly of weak, thin lines - it speaks of uncertainty, indecision, weak fitness. If the tree shape resembles a keyhole, with a crown in the form of a circle or oval, it may mean strong hostile impulses. The scars on the body of the tree, broken, drooping or dead branches, apparently symbolize mental injuries. If the child graphically or orally indicates that the tree is dead - it is regarded as a sign of a sense of inferiority, inaptability, insolvency, uselessness, guilt, etc. Most often, it is dead or partially dead branches or roots. In this case, damaged branches are treated as a symbol of the traumatic environmental impact, and a dead root system implies intrapersonal disharmony.
it is recommended that the tree symbolizes how the child feels himself in his surrounding reality. Since the external forces acting on the tree are mainly meteorological, through the description of weather conditions, the child can express his impression on how he perceives relationships from others: whether the surrounding reality is generally a favorable and friendly or inhibitor and hostile.
Human
elovek, depicted Alfas, should have his head, body, two legs, two hands, as well as two eyes, nose, mouth and two ear. A child can vividly express a sense of self-helplessness, drawing a self-portrait without hands and feet. Divorced hands - the expression of the desire for action. If the hands are crossed on the chest - this is a certificate of closetness, constancy, care. Long hands - the presence of some aspirations, ambitions. Short hands, on the contrary, express the absence of aspirations aimed at the outside world. Disproportionally long legs - the desire for independence. Short legs express feeling helplessness.
laza, nose, mouth and ears are receptors that perceive external incentives that may be unpleasant (for example, listening to charges, critics) can lead to a conflict or problem. The drawing of a person having only eyes shows suspicion and excessive caution, the lack of nose, ears and mouth also indicates the lack of desire to communicate.
orogi parents should also pay attention to the sequence in drawing a house, tree, man; The proportions of parts in the figure (perhaps something seems too much or, on the contrary, too small); perspective (which and where is drawn); the time that the child spends on drawing the patterns of the pattern; quality lines (fat, weak lines); Comments are oral or written - the names of people, the names of the streets, trees, etc. Be careful and drive entries.
regret, the size of the release does not allow us to describe in detail the features of the interpretation of the picture. However, dear friends, if you wish, you can easily find a detailed description of the interpretation of different aspects of the drawing on the pages of the worldwide network.
i will remind you so that only a specialist can give a full-fledged interpretation of the picture, so do not hurry with the conclusions! Draw with pleasure!
When preparing, the materials of the book Catherine Taylor are used. "Psychological tests and exercises for children. A book for parents and educators" Ed.: April press, ed. Institute of Psychotherapy, 2005, 224 pp.
Instructions for Figure Test "House"
Please draw a house (this should not be a multi-apartment building, there should be no particular house belonging to you or your familiar).
Material for testing requires a sheet of paper A4, as well as a pencil. The sheet of paper should be white, not glossy, without any lineacks or cells. Use the medium soft pencil; It is impossible to draw a handle or markers.
Questions to Figure
- Where is this house?
- How many rooms in the house?
- Who lives in it?
- Where is this house?
- What place is the most comfortable, why?
- What place is the least cozy, why?
When we consider the windows, we have associations with eyes. If we recall the children's drawings, young children are anthropomorphic houses (roof like hair, windows like eyes and TP). According to Freud, if we see in a dream that we are looking for some kind of house or we go inside some building, it is interpreted as what we are looking for ourselves or something inside yourself. He has definitely identifying a person and at home.
"My house is my fortress!", - Does not be completely healthy flows the roof inside the house. This is natural self-identification.
Doors
Door - Communication. Therefore, if the door is located ahead, then this is usually a well-sociable and sociable person. But there are subtleties, for example, the door ahead, but it leads a very high porch. It is typical for people of selective and sociable, with such a tendency to select and check their acquaintances ("I have a narrow circle of friends and they are all proven and reliable"). A narrow porch is that a person makes people who want to get close to get along through some tests. The applicant for friendship, moving from the step on the step, gives the exam. Then - worked out, in detail drawn porch (can be like a separate house). If a person has anxious installations in contacts, he also draws a track. And if even stronger - draws up the path to the house. In addition, how the door is drawn: it can be disturbed or burned, there may be a darkened handle or eye.
If the door is ahead - for communication it is better if the side is some halfness, it does not fully want to communicate, and if there are no doors at all ("" And the door there is there, on the back facade "), then it doesn't care that a person stands back to us, Roating, reluctance to come into contact.
The door can be disproportionately small or so drawn, that it is impossible to enter it.
Picturesque tests, as they are projective, can be delicious
If the road leads past at home, it is a low interest to come to you. Generally the road is social desirability. It is necessary to show that the person is sociable.
When high windows and high foundation and high porch, there is a feeling of some fortress.
Door as a grille - also additional protection.
Window
On the one hand, something is shown to us as eyes. And on the other, they talk about the degree of interest in information about the external world. Therefore, high windows are drawn not very inquisitive people. And large windows draw people contemplative, observant and wishing to know more.
Antennas on the roof and huge windows speak of a high need for information and knowledge.
If the windows are small or directed - a person needs a need to hide what he wants to hide.
Interestingly, when these curtains are not simple, and when they are super-elegant, with decorations, ruffles, - any decorations speak of exteroid trends, desire to attract attention, demonstrate and paint.
Flowers on curtains - the desire to draw attention to what he wants to attract attention and demonstrate what he wants to demonstrate and hides what he wants to hide.
There are houses that impress the impression of non-living, emotionally emotional, depleted.
Dark windows - it's like a man in sunglasses and does not want his eyes to see. And empty windows - emotional cloister and lack of emotionality.
If the house does not reduce the ends with the ends and the misty and not enough simple image, it will talk about his fuzziness of the image of its own "I".
There are windows that are also in the lattices. And there is another interpretation of the house, rather correlation with the parental house, in which our subject grew up. Because if he grew up like in prison, it will draw windows as bounds, but look like a grille. And with internal freedom, he will have problems.
Roof
Any roof jewelry, whether it is freeness or other things - often the need to demonstrate their intellectual abilities, education and erudition. Because the roof is a head.
The degree of roof elaboration: if it is a little sketched expected way - not alarming, not in detail, rather conditionally - this is also not specifically discussed.
And if the roof is well developed - for example, a lot of tiles, we can interpret. And that and the others reminds us how in a non-existent animal there is often a teenager or a shell or a rolph. It can be both: and a roof shell and a fence like a ridge. Pentes - protection against pressure from above, and aggression is also directed upstairs, protection against steering figures.
Tests - invisible to the world of tears. Because from the side it seems that everything is ok. Do not save yet
Window rooftop
The window in the plane of the roof, through which the sky is visible from below, and from above - you can look into it.
"Kandinsky-Clearambo syndrome is the syndrome of thoughts made, a person has a feeling that he is observed behind him that his thoughts do not belong to him, and invested in the head of the KGB, dental and TP. It is imperatively ordered that he needs to be done, where he needs to go and TP. As a rule, they arise in people who were brought up in conditions when they needed to learn everything about every thought and consider everything under a microscope. Clinical patients draw transparent houses, which in textbooks on geometry, where all the edges are visible. And then the feeling that any of his thought is fully reading that it can be seen only through.
Pipe
Water pipes - phallic symbolism. Pipes that on the house are of particular importance. Smoke - emotionality, the output of some affects or feelings. Therefore, when there is a pipe, but there is no smoke - control, excessive restraint. If smoke moderate and normal - approx. And if smoke is too much - a very strong affective splash, anger, explosion, irritation and TP. Smoke feel more than it should be.
If the pipe is and normal size - the norm. If there is a pipe and very brick - alarms, as it may be control over the sexual sphere.
The whole house is pale - a porch is highlighted, the foundation (need for a support), an auditory window (the need for control) and a pipe. It turns out that this is the need for a support, interest in relations and in particular - in the sexual sphere.
If a man has been buried too pipe, disproportionate, then it can talk about anxiety, concern about this sphere: it may be in adolescents and speaks of concern. If a person adult draws a naked woman on a drawing of a person and a large pipe or, on the contrary, he will have a small and imperceptible, weakly drawn pipe (depending on the energy, strong or weak), also problems in the sexual sphere. And sometimes it happens in immature, young people - no pipe, since the problem of the sexual sphere is not presented in the head.
First there are irrational bans for sex. And then, growing, man rationalizes them using religious things.
Attic
- Head, reason. The attic is interpreted by Trojko. If they say that many unnecessary things are a displacement.
The bakes of the pies and herself does not eat, treats girlfriends - sublimation of sex needs.
Why can the attic be an unpleasant place? Because there are unpleasant rats there, as one test said. And then there are a lot of fears (ghosts and bats are found). If the roof flows - a person has a feeling that he is not in order with his psyche. And the third option is when he is disturbed by intelligence: people with deviations and dibilly suggest that there is nothing empty in the attic.
On the contrary, people of schizoids prone to dreaminess will be the most pleasant place. Because it is above the level of life, it is an opportunity to rise above the life. And many teenagers who are similar to schizoids in this sense, also choose the attic.
Most suggests that the most pleasant place is a living room. But at the same time, often an unpleasant place is a corridor, Songy, a place in front of the door, - where other people's people walking the courtyard, draft, many dirty shoes and mess. This means that in the house is a security, a narrow circle, its own, and the outside world is unpleasant, the feeling of hostility, uncertainty and insecurity is all the fact that it does not apply to the outside world.
Also as the roof is a head, the cellar or the basement is a sexy sphere. Often they say, for example, men, that is an unpleasant place, because there is one technique (there is no feeling, there is no relationship, but only a technique). Maybe in adolescence. This is a pretty unpleasant moment, because in adolescence there is a compound of emotional and sex components.
If your favorite place is a kitchen - women who self-affirmation in the role of the hostess who like to cook and like when they are praised for it - their favorite place is a kitchen. On the contrary, women on a diet and with anorexia, a kitchen is the most unpleasant place. Men who have chosen mother can also say that the kitchen is the most unpleasant place.
Schizophrenics, whose schizophrenogenic mothers say that the most unpleasant place is in chimney.
If they say that there are no unpleasant places to displace problems. And it is necessary that he say, what place is the least pleasant.
The number of rooms indicates self-esteem and the level of claims. If the rooms are up to five - this is the norm. If twenty - a lot. This is a problem with reality.
If this house is standing in the mountains, in the forest, they turn in such a way that there is no door, one room and live there Grandma with grandfather, - minimalism, lack of claims, schizoid.
The place where the house is located: if the house is among the same houses - the desire for socialization and join the team. If the house is in itself, far from other houses, then this is a desire for some distance.
The drawing of the house there is a little provoking people on some kind of magic: the feeling that if you draw it all, you will have it. And people draw more. The second interpretation that when the house is simply so drawn - you can trace who is coming there. But you see when he completely came up. And if you equip a large territory - this is the whole territory of them and so the house standing in the center is even safer.
When the tree is drawn, then here only your "I". And when the house is there are powerful influences from childhood.
For bachelors, the most pleasant childhood is a bedroom, since there is no one, except for him.
In order to trust what, for example, if large ears, then dependency on the opinions of others, and if the hollow in the tree, then psychotrauma, it is necessary to be in the subject. Most are inclined to depreciate said.
If a man draws himself much more than a woman in the figure of a person, then the case may be that he is inseciously feels like a ride. Very often, children are not very confident in themselves who do not know how to communicate with the peers, very often communicating with the younger children (if bad - it will break and show aggression, if good - will receive satisfaction that it needs and that he can help, but at the same time, and the other will confirm).
Consider the seats cozy, uncomfortable
COZY PLACE
- Normally somewhere near the stove, the living room where the family is going. A separate room is at the top, there is a native room - from there a good look, you can retire, read books ...
- If your favorite place is a kitchen - women who self-affirmation in the role of the hostess who like to cook and like when they are praised for it - their favorite place is a kitchen.
- The veranda, the terrace - the border of the house and the outside world, between the external, inner. It happens in people who are not comfortable at home and who want more freedom. A cozy place outside the house is an attempt to synthesize between external freedom and by himself. It's not bad. But it happens that man is bad in the house.
- The attic, attic, the second floor - when a self-sufficient person. When he wants to think, to stay with you, read, tear away from the routine - positive features. Lowl problems do not touch the 1st floor.
- The corridor or entrance hall is negative.
- Bedroom - may mean that a person needs to relax, relax. If related to relationships, it would be good together.
- Chair Rocking - the desire to relax.
- It happens painting a staircase for the 2nd floor - a person does not know how to communicate.
Often, an unpleasant place is a corridor, Songy, a place in front of the door, - where others are people walking the courtyard, draft, many dirty shoes and mess. This means that in the house is a security, a narrow circle, its own, and the outside world is unpleasant, the feeling of hostility, uncertainty and insecurity is all the fact that it does not apply to the outside world.
In women on a diet and with anorexia, a kitchen is the most unpleasant place. Men who have chosen mother can also say that the kitchen is the most unpleasant place.
When the attic is interpreted as an uncomfortable place, there may be options:
- non-indellicate, with low formation, reduced mental abilities, "duals" (like "there is empty and nothing to do");
- Displacing unpleasant thoughts, memories, problems. Refusal to work on yourself. Then they say that so much is sketched, which you can break the leg, all the junk is jerked ...;
- When there is scary (dark, mice, bringing) - children's fears are not redesigned;
The bakes of the pies and herself does not eat, treats girlfriends - sublimation of sex needs.
Why can the attic be an unpleasant place? Because there are unpleasant rats there, as one test said. And then there are a lot of fears (ghosts and bats are found).
Bedroom - if in the family disassembly emotional in the family. Guest bedroom - Perhaps problems with random sex.
Basement, cellar.
Basement - Sexual Scope
This is our bottom. You can interpret as a subconscious, but more often it is a sexy sphere. Related to genealogical problems in women. If this is, you need to specifically ask more. If with a staircase, you can fall - "fallen woman." In men, the basement is a pleasant place where it is a generator that heats the whole house. It happens bad - an unpleasant place, there is one technique. That there is no feelings, emotions, sex like acrobatics.
Often - uncomfortable, cold, damp ... trouble with the basement - antisexual education of women and men, concerns, problems with achieving pleasure.
Often they say, for example, men, that is an unpleasant place, because there is one technique (there is no feeling, there is no relationship, but only a technique). Maybe in adolescence. This is a pretty unpleasant moment, because in adolescence there is a compound of emotional and sex components.
This test suggested by J. Bukom in 1948 and is intended to assess the identity of the subject, the level of its development, performance and integration; obtaining data relating to the sphere of its relationship with the outside world as a whole and with specific people in particular. This is one of the most famous projective techniques.
The test is designed for both adults and children.
The study can be carried out both in the group and individually. Preference is given to individual testing, which gives great opportunities for observation.
Test house, tree, man (DDH). Projective technique (Picturesque test):
Instruction.
Take a white sheet of paper, pencil and eraser. Draw the house as well as you can. You can draw a house of any type, which you want. You can erase drawn as much as you like - this will not affect your assessment. Throw out the picture so much time as you need. Just try to draw a house as much as possible. Then draw as a better tree and man as possible.
Key (decoding).
Each object (home, wood, man), drawn separately or in the composition, should be considered as a self-portrait, since each subject depicts it with some features that have a significant value for it for any reason, and these features have a real attack other than What the subjects can talk about this.
Details. Here, their meaning is important, the ability to operate them and adapt to specific living conditions. It is necessary to notice the degree of interest of the subject and the following points: the degree of realism with which it perceives them is the relative importance that it gives them and the ability to connect these parts to the aggregate.
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Details of significant |
Their absence in the drawing of the subject, which, according to preliminary information, now or in the recent past, was characterized by an average or high intelligence, often indicates an intellectual degradation or a serious emotional violation. |
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Excess details |
"The inevitability of physicity" (inability to limit itself) indicates a forced need to orient the whole situation for excessive concern for environment. The nature of the details (significant, insignificant, strange) can serve as a more accurate determination of the specificity of sensitivity. |
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Unfront duplication of parts |
the subject most likely does not know how to enter tactful and plastic contacts with people. |
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Organization of details |
If the difficulties of the organization are detected in each figure, it is possible to suspect a stronger emotional or organic violation (or both together). If the complexity of the organization is found only in one figure, it can very well be that violation of the functional order and is associated with the situation shown in the figure. If in all 3 drawings, the organization of parts is satisfactory, the personal structure of the subject is sufficiently stable (even with a large number of pathophores). In the case of a more successful organization of parts in color drawings compared to one-color, the outlook is more favorable. |
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Erasing or abrasion |
If redrawing is more successful, then this is a good sign. Erasing with the subsequent deterioration of the figure indicates: a) the presence of a strong emotional reaction to a drawn object or that it symbolizes for the subject. b) the presence of a malignant organic factor. c) Availability of both options. Erasing without attempts to redraw and corrected can mean internal alarm, conflict a subject with this item itself or with what it symbolizes. You can also assume a depressive state with possible accompanying that reduces the health of the factor. |
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Basic line (land) |
Insecurity. It is the necessary point of support for designing, character integrity. Picture gives stability. The value of this line is sometimes depends on the subjective quality subject, for example: "The boy rides on thin ice." The foundation is often drawn under the house, tree, less often under a person. Specially drawn, "fictional" contours of the Earth are less significant than drawn spontaneously. |
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Earth contour is very fat, fat |
Anxiety, anxiety in reality. |
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Earth contour descending from the center of the drawing on the sides and down |
Feeling isolation and insecurity, maternal dependence. The need for exhibitionism (depends on the size of the drawing and comments). |
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Earth contour descending |
Waiting for an unclear and dangerous future, anxiety (its intensity depends on the grinding of inclination). |
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Earth contour rising to the right up |
Presence in the future forced effort and struggle. |
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Identification with me |
Interpretation depends on the degree of subjectivity and may vary from the preferred judgment of the psychological horizon of the subject to explicit egocentrism, excessive interest in itself and the concern, the tendency to relate to themselves. |
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Curve contour curved |
Usually a good sign, but can mean disgust for restrictions and conventions in severe severity. |
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The contour is unclear out in separate details |
The unwillingness of the subject to exhibit this item due to its relevance or symbolic significance. |
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Bold contour in general |
The generalized sense of inadequacy along with indecisiveness, fluctuations and fear of losing. |
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If the contour from "home" to "man" becomes all thinner |
General alarm or depression. |
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Contour fat only on sides |
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Contour thick in separate details |
Fixation at this object (parts). Hidden or explicit hostility to thus drawn object or what it symbolizes, accompanied by anxiety. |
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Contour thick in all drawings |
You can suspect an organic disease. |
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The contour is thick in one of the drawings |
Generated voltage. |
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Outlines and non-connecting contours |
Premonition of the impending catastrophe. |
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The contours are very straight |
Rigidity. |
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Figures petty, scrupulous |
Ossessive-compulsive trends. |
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The biggest part of the figure turns out for the lower limit of the sheet, |
It is more likely that the subject committed Patoform Suppression to preserve the integrity of the individual. You can assume the presence of strong exponentiality. |
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The drawing goes beyond the left edge of the sheet |
Fixation on the past and fear of future. Excessive concernity of free frank emotional manifestations to compulsive behavior. |
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Exit to the right edge of the sheet |
The desire to escape to the future to get rid of the past. Fear of open, experiences. The desire to keep tight control. |
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Output of the top edge of the sheet |
Restriction of space with an increased sensitivity arising from this. Measure strong aggressive-reactive trends (hidden and undisguised). |
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Drawing drawing in the top of the sheet |
The tendency to fix on thinking and fantasies, as at the source of pleasure (which can thus can be obtained or not obtained). |
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Turning sheet |
Aggressive and negative trends. Patoform, if the turning is repeated, the peaseveration, if the sheet turns all the time in one direction. |
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Perspective |
By how the subject is building, you can learn a lot of valuable about its installations, views, feelings of the subject; Over wide and complex relationships with reality, with other people, about its way to operate with these relationships. |
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Perspective, profile in the opposite direction |
Indicates the detection of conflicting pulses and a conscious desire to suppress them or sublimated. |
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Perspective, drawings absolutely into profile |
(The house turned by sidel to the viewer, doors, a man shown only with one hand or foot). Reluctance directly, directly take the environment (for example, look into the eyes). A certain desire to deny, hide your "I". The desire to contact your own style. |
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Perspective, absolutely interfalistic drawings (in Afas) |
If all the drawings are executed in the famine, it characterizes the subject as direct, uncompromising, persistent. Such an installation may be the formation of a promotion to the deep sense of insecurity. |
|
The desire to dedicate, get away from the conmented communication. Feeling isolation, rejection, forgetting. |
|
|
Picture room above the center of the sheet |
The higher the drawing above the center, the greater the likelihood that: The subject feels hopelessness of its struggle and the relative inaccessibility of the goal; The subject is inclined to look for satisfaction in fantasies (internal tension); The subject is inclined to hold onto the side. |
|
Drawing drawing in the center of the sheet |
Insecurity and rigidity (straightness). The need for caring control for the sake of preservation of mental equilibrium. |
|
Picture room in the upper left corner of the sheet |
The subject is inclined to avoid new experiences, is clearly alarming, regnets (if only there is no congenital mental retardation). The desire to go back or deepen in fantasy. |
|
Picture room on the right side of the sheet |
The subject is inclined to look for pleasure in intelligent spheres. Controlled behavior. Focusing the future. Possible surplus male identification. |
|
Proportion |
The realistic and ratio of parts in the figure reveals the values \u200b\u200battributed to the subject objects, situations, people who will be relevant and symbolically represented by their images. |
|
Proportions, intellectual aspects (its solution shows the style of thinking or planning) |
Basically in connection with unforeseen, specific features of objects. |
|
Proportion, use of a minimum of parts |
It is possible that the subject is focused in spatially orientational relations, but the use of a minimum of details tends: Hold the sides, keep away, rejuvenate; Disrespect of normal conventional values. The subject demonstrating an infallible understanding of these relations and uses the minimum of details, may turn out to be: Mentally defective; Suffer from significant intellectual attenuation (reversible or irreversible). |
|
Constantly reduced psychomotorika |
Suspicion of the presence of an organic factor, oppressing anxiety or severe depression. |
|
Exactly elevated psychomotoric |
Excessive excitement along with the weakening of braking. |
|
Redrawout without previous erasing of unfinished pattern |
Negativistic reaction subject. |
|
Addition to the general plan |
Unbridled anxiety, fear of loss of control. |
|
Specific addition |
Fixation on an additional object (reflects relevant or symbolically). Often accompanied by anxiety. |
|
Drawing uncertain |
(arising from the inability to imagine the whole drawing as a whole) the absence, loss of feeling of equilibrium. It is characteristic of organizing and in a state of severe alarm. |
|
Transparency |
Ignoring reality. Shows the degree of damage to the overall personality structure by organic or Pato moto-motion factors. This degree (pathology) can be changed: a) the number of transparencies; b) their magnitude (for example, the transparency of clothing sleems in this case is much less significant than the transparency of the walls of the house). In the case of the mental retardation of the subject - transparency is less important than when intelligent the average or above average. |
|
Reflects the subject associated with the experiment as a whole. Most likely, the worse, the weather is more unpleasant, the most likely that the subject perceives the medium as a hostile, stinting. Before interpreted, it is necessary to figure out the attitude of the subject to the weather. |
|
|
Restriction of drawing in general |
Sense of inconsistency or inadequacy. |
|
Perspective, drawing depicted away |
The desire to get away from the conventional society. Feeling isolation, rejection. An explicit tendency to limit the environment. Desire to reject, not recognize this drawing or what it symbolizes. |
|
sanitary function is performed. If the manner of the image of the bath is significant, it is possible to violate these functions. |
|
|
this is the place of intimate personal relationships. The graphic or verbal image of the private bedroom can help find out the degree of sexual adaptability of the subject, and can also reveal the attitude of the subject to rest and relaxing and the need for them. |
|
|
fool symbol. If the entity shows the valuable significance of this symbol. Emotional maturity and equilibrium. Sign of heat in intimate relationships. |
|
|
No pipe |
the subject feels the lack of psychological warmth of the house. The subject is experiencing difficulties in a collision with a male symbol. |
|
Pipe Almost invisible (hidden) |
unwillingness to deal with emotional effects. |
|
Pipe, its emphasis |
focusing on male signs. Excessive concern about warm. |
|
The pipe is too big |
excessive concern about sexual problems and the need to demonstrate men's strength. Exhibitionist trends. |
|
Seen hole pipe |
violation of the sexual role. Sexy impotence. |
|
Pipe is drawn by space in relation to the roof |
norm for a child. Lost or significant regression, if detected in adults. |
|
Transparent or depth |
denial of phallus, which can mean impotence. |
|
Pipe is visible through a transparent roof |
poorly hidden exhibitionist trends, the subject feels that his alarms of phallus and interest is obvious to him. |
|
Many pipes |
the style of the picture shows that this is a significant thing for the subject, you can assume its excessive interest and anxiety associated with phallus. |
|
Color, that is, painted parts |
the researcher must try to find out the cause of this. |
|
Color, conventional, normal use |
green for roof, brown for walls. Yellow, if used only for the image of the light inside the house, thereby depicting the night or its approximation, the expression of the sense of the subject, which: a) Wednesday is hostile; b) his actions should be hidden from prying eyes. |
|
The number of colors used |
well adapted, not a shy subject typically uses at least 2 no more than 5 colors. |
|
The subject coloring house 7-8 colors, |
at best, it is very labile. Using only one color is afraid of emotional excitement. |
|
Details, their distortion |
usually symbolize aggressive hostility, sometimes partially intermented. Hostility is directed against a whole drawing or distorted details (relevant or symbolicly perceived). |
|
Details necessary, significant |
no less than one door, one window, wall, roof, pipe or other foreign to exit smoke (if it is not built in the tropics). The lack of a pipe can justify what the house is drawn on the dilapidated one. |
|
Details are not necessary |
the subject is experiencing the need for as fully as possible and details to arrange their surroundings to its taste. |
|
Extra details |
the horizontal line separating the first floor from the second indicates extreme correctness with a possible organic or concentrating attention over somatics. Psychological diseases may be suspected. |
|
Dining room (living room) |
the function of this room is quenching oral nutritional needs. If the manner of the figure indicates the significance of this subject, you can suspect a violation of these functions. |
|
Doors, their absence |
the subject is experiencing pattomorphic difficulties in the desire to disclose before others (especially in the home circle). |
|
Doors, alone or more, rear or side |
departure, extension, avoidance. |
|
Doors, one or more, front |
the first sign of frankness, achievability. |
|
The door drawn in turn in turn detail |
antipathy to interpersonal contacts. The trend of privacy from reality. |
|
The door is open |
if the house is a residential, then the scentual need for heat from the outside and the desire to demonstrate accessibility (frankness). |
|
Side doors, one or more |
alienation, privacy, avoiding reality. Significant inaccessibility. |
|
Doors are very big |
excessive dependence on others or desire to surprise with its social society. |
|
The doors are very small |
unwillingness to let in their "I". The feeling of inconsistency, inadequacy, indecision in social situations. |
|
Doors with a huge lock |
hostility, imperidity, secrecy, protective trends. |
|
Big hinges doors |
|
|
Eaves roof |
(Its focusing with a bright contour or extension for the wall) Strengthened protective (usually with dimming) Installation. |
|
Rear wall shown in the other side than usual |
receives conscious attempts of self-control, adaptation to conventions, but at the same time there is a strong hostile trend. |
|
The outline of the rear wall is thicker (brighter) compared to other details |
|
|
Fireplace, directly accently (visible through the walls) |
fixation on the direct function of the fireplace (heat source) or on its symbolism (genital). |
|
Fireplace, indirect acentation |
conflict with a permanent tenant. Neurotic attachment to this person or any emotionally associated situation. |
|
House plan (projection from above) instead of the house |
serious conflict. If the plan is well depicted, you can suspect the presence of perenoyal ideas. If the plan is unsuccessful - the organic agent is possible |
|
Flowers (tulips or similar chamomile) |
typically draw schizoids or minors normal children |
|
The support of the foundation (columns) is unusually high |
suspected organic. |
|
Oven, indirect acentation |
pleasant or open hostility towards the situation at home. |
|
Water pipes (reinforced protective installations) |
usually increased imperidity. |
|
Grozny house, old, broken |
sometimes the subject can thus express attitude towards himself. |
|
House in the house |
the feeling of aspiration or rejection (rejection). The subject is not able to settle the situation at home. Inaccessibility. If the drawn attitude is completely opposite to expressed, there may be a serious defect to evaluate reality. |
|
House near |
an image of a room in which food is prepared, if there is a special drawing manner at the subject, signals about oral erotic. This may be associated with a strong need for attachment of people, in love. |
|
Living room |
social communication. |
|
Traffic |
most likely the pathological, at least the pathomorphic symptom. This subject symbolizes the traumatic feeling of loss of control of the ego. |
|
Different extensions |
aggression, aimed against the actual host of the house or a riot against the fact that the subject considers artificial cultural standards. If the entity draws a toilet near the house, you can assume the presence of urotal or \\ and anal interest. |
|
Picture room at the bottom of the sheet |
generalized feeling of uncertainty, not safety. Often conjugate with a temporary meaning: a) the right side is the future, the left is the past; b) associated with the purpose of the room or with its tenant (constant); c) indicating the specifics of the experiences: the left side is in emotional, right - in intellectual |
|
Premises in the top of the sheet |
it is rarely found in the drawing of the house. Indicates some chaotic escape from reality. |
|
The prospect of "over the subject" (view from the bottom up) |
the feeling of humiliation, detachment, not recognition of the house. Or the subject is needed by the need for a home hearth, which considers unavailable. Next to limited contacts with others. |
|
Perspective "under the subject (view from a bird's-flight) |
denial, non-recognition of drawn house. Non-recognition inherent in many people to worship a homely hearth. The subject feels rising over household chores, but often it is accompanied by depression. |
|
Perspective (signs of perspective loss) |
the subject correctly depicted one end of the house, but elsewhere draws a vertical line of the roof and the wall - it does not know how to portray the depth. Fear in front of the future (if distortion is right, or the desire to forget the past, if on the left). |
|
Triple Perspective (three-dimensional) |
the subject draws at least four separate sides (walls), of which even 2 not in the same plan. Excessive concern about the opinions of others about themselves. The desire to keep in mind (learn) all your connections, even minor, all features. |
|
Absolute profile |
it is possible to assume the presence of an acute paranoid reaction in relation to the house (or to intimate inter andxal relations). |
|
Drainage pipes |
strengthened protection, possible urotal eroticism or oral preparation. |
|
sphere of fantasy. |
|
|
Roof and trumpet |
syvivally express the senses of the subject that they are commanding independent of their own will. |
|
Roof, bold contour, not peculiar drawing |
fixing on fantasies as a source of pleasure, usually accompanied by anxiety. |
|
Instead of the house only the roof and fence |
pathologically scantful contact with reality. An indication of the possible design of the ego. |
|
Roof, thin edge contour |
excessive control of fantasy. |
|
Roof, poorly combined with the lower floor |
poor personal organization. |
|
The roof is too big |
search for pleasure in fantasy. |
|
Roof covering semblance wall |
the assumption that the subject lives more in the world of fantasy. |
|
associations may arise in connection with: a) a person living in the room; b) interpersonal relationships in the room; c) the purpose of this room (real or attributed). |
|
|
Rooms that are not placed on a sheet |
the unwillingness of the subject is to depict certain rooms due to unpleasant associations with them or their tenants. |
|
the subject chooses the upper bedroom. A minor trend towards alienation. If there are more signs of alienation, isolation, the trend is more significant. |
|
|
Nearest room |
conidness. |
|
sometimes symbolize people. If the house is closely surrounded - there may be a strong desire to protect themselves with protective barriers. |
|
|
Bushes are chaotically scattered or on both sides of the track |
indicates a slight anxiety within the framework of reality and conscious desire to control it. |
|
Shutters closed |
the subject is not able to subscribe to the interpersonal situations. |
|
Smoke brings to the left, then right |
the pathological defect of the evaluation of the surrounding. |
|
Smoke brings left |
pessimistic look into the future. |
|
Smoke is very thick |
significant stress (intensity in the thickness of smoke). |
|
Smoke thin flower |
urotal eroticism. Feeling lack of emotional warmth at home. |
|
Steps leading to a deaf wall (without doors) |
reflect a conflict situation that violates the correct assessment of reality. Incomplication of the subject (although it may passionately wish for free heart shares). You can suspect a body. |
|
Transparent glass box |
symbolizes the experiences of the payment of yourself with all for the review. He is accompanied by a desire to demonstrate itself, but limited to only visual contact. |
|
often symbolizes various faces. If they seem to "hide" the house, there may be a strong need for or \\ and the dominance of parents. |
|
|
Ventilation pipe over the roof |
phallic preparation. There is a significant correlation between the sign and enuresum and \\ or urotal eroticism. |
|
Track, good proportions, easily drawn |
indicates that the individual in contacts with others detects the beat and self-control. |
|
The walkway is very wide at the beginning and strongly narrowed at the house |
an attempt to disguise the desire to be lonely, combined with superficial friendliness. |
|
Wall and roof together |
the borders of the ego. Ego strength shows image style. |
|
Wall, lack of its foundation |
weak contact with reality. |
|
Walls are not connected |
suspected Organic with a likely loss of control over primitive instincts. |
|
Walls, two-dimensional perspective, narrow long walls |
Normally for children. In relation to adults, weakness and regression are possible, as well as a organic. |
|
Wide long walls |
Normally for children. For adults, schizophrenia is possible (especially if the central wall is deaf without windows, without doors). |
|
Wall with accented horizontal measurement |
bad orientation in time (dominance of the past over the future). |
|
Wall and roof - their borders |
personality borders. Their character shows the strength and plasticity of these borders. |
|
Wall - contour lines are too accented |
conscious desire to maintain control |
|
Wall - one-dimensional perspective - only one wall is depicted - if it is a sideway wall |
there are serious trends towards alienation and opposition, if the front: Normally for young children. In adults - a strong need to maintain a pleasant "facade" in interpersonal relationships is expressed. |
|
Transparent walls |
compulsive attraction, the need to influence (own, organize) to the situation as far as possible. The mentally incomplete subject, depicting more invisible internal parts than visible, demonstrates this feeling inadequate in dangerous situations. In the case of normal intelligence, a serious defect for critical considerations and reality assessment. |
|
Wall with accented vertical measurement |
the subject receives pleasure primarily in fantasies and has a smaller number of contacts with reality, the desirable. |
|
methods contact, sign of accessibility, openness. |
|
|
Lack of windows |
hostility, alienation. |
|
Windows - no on the lower floor, but there are on top |
the abyss between real life and life in fantasies |
|
Window with curtains |
alienation, backup accessibility. |
|
If the curtains or shutters are not closed |
there is a consciously controlled interaction, accompanied by alarm. |
|
Accent windows by adding, without excessive detail |
concern to interaction. Partial cause of concern - fixation |
|
Windows: The first floor is drawn at the end |
disconnection to interpersonal relationships. The trend of separation from reality. |
|
Windows: closed (curtained) |
Concern to interaction with the environment. |
|
Windows: Highly open |
the subject behaves somewhat unleashed and straight. |
|
Many windows showing readiness to contacts, and no curtain |
no desire to hide their feelings. |
|
Windows opened |
If someone lives in the house - a great accessibility or desire for it. If no one lives in the house - the weakness of self-defense of the ego. In some cases, the insufficiency of control can reach the pathological level. |
|
Window (a), glass symbolizes one dividing window vertical |
you can expect fixation on female genital organs. |
|
Window without glasses |
hostility, alienation, oral or anal eroticism. |
|
Window, position, difficulties matching walls and floors |
you can suspect early schizophrenia, if such difficulties take place with a good overall composition. |
|
Windows, distortion of proportions |
excessive concern with female organs, if the image of the window is significant. |
|
Window with castles |
hostility, closedness. |
WOOD
|
Animal peeping out of a hollow in a tree |
the presence in the personality of the pathomorphic, which does not obey the control of the part, having devastating trends, the obsessive sense of guilt. |
|
typically draws children highly dependent on parents. |
|
|
Bark (winding vertical lines) |
the possibility of schizoid features. |
|
Bark (easily drawn) |
equilibrium in relationships. |
|
Bark (depicted petroleous, scrupulously) |
compulsiveness and strong and strong concern about the relationship with the environment. |
|
the degree of their flexibility, the number, the magnitude and the degree of their plexus reflects the subject of the subject to the adaptation, availability and ability to obtain satisfaction from the medium. |
|
|
Branches, absolute asymmetry |
reflects ambivalent feelings, inability to free domination of any action. |
|
Branches, broken, inclined or non-residential |
significant to the subject physical or spiritual injury. |
|
Branches are non-living |
the subject does not feel satisfaction from entertainment. |
|
Branches are depicted with stroking or painting (if they are drawn easily and quickly) |
tactical, but most likely superficial interaction with the medium. |
|
Branches, two-dimensional image with "unclosed" tips |
the subject is little adapted to manage its impressions. |
|
Branches: Young sprout from a meager trunk |
refusal to the former traumatic belief that it makes no sense to seek satisfaction in your environment. Return of sexual forces. |
|
Branches facing left |
lack of personal equilibrium due to the trend immediately get sensual pleasure. |
|
Branches addressed to the right |
lack of personal equilibrium due to the tendency to delay or avoid sensual pleasures, seeking to find them in mental effort. |
|
Branches like spikes (spines) |
masochist trends. |
|
Branches two-dimensional, weakly organized, similar to fingers or on sticks |
highly pronounced hostility. |
|
Branches two-dimensional, with a relatively good foliage system |
means the ability to cope quite well with cases relating to interpersonal relationships. |
|
Structure of branches |
the degree of satisfaction with reality. Contact direct entity with the environment. |
|
Structure of branches: narrow and long |
fear in search of satisfaction in the environment. |
|
Color classification: Its conventional use |
green for branches, leaves, brown for trunk. |
|
Color classification: Combination of black and green |
schizoaffect type reaction. |
|
Earth, its transparency, image of invisible roots |
patomorphic cutoff from reality (exception - children's drawings). Suspected of adult organic - with an average or above intelligence) |
|
Earth contour in the form of a mountain |
so the placed tree reflects oral fixation, often associated with the need for maternal care. |
|
If the tree is small |
strong need for dominance and exhibitionism. |
|
Leaves (two-dimensional, partially large for branches) |
obsessive compulsive features. The desire for superficial adaptability hide the deep sensations of inadequacy. Hypercompensation efforts to go with head in reality. |
|
Perspective "under the subject" |
position to surrender without resistance. The tendency to concreteness, the rejection of the person who symbolizes the tree for the subject. |
|
Perspective: Partially with a slide |
experience of effort and struggle for autonomy, independence. It often reflects the stress in the desire for a distant, possibly unattainable target. |
|
Dead roots |
the absence or loss of internal equilibrium, which indicates the pathological flaws in the perception of reality and needs. Disseminated feelings related to early experience. |
|
Roots leaving to the ground are pronounced |
|
|
Roots Thin, weak contact with earth |
weak contact with reality. |
|
Damage to a tree |
technical or physical experience, traumatic for the subject. |
|
a factor contributing to strengthening anxiety at the conscious level. Insufficient conditions, unsatisfactory relations for the subject in the past, which are reflected in the present. |
|
|
Sun: Cloud between him and tree |
reflects the alarming, unsatisfactory relationship between the subject and some person. |
|
The sun is great |
|
|
Sun behind the tree |
sometimes the subject can interpret the tree as a person from his environment, which impedes his relationship with a person valuable for him, or someone a guarding entity from an undesirable person. |
|
Sun, his position |
the relationship between the tree and the heat source (or medium). Often reflects the experience of the subject of relations with the dominant in his environment. |
|
Sun, his rays fall on the tree |
the need to dominate or feel another. |
|
The sun setting |
the feeling of depression. |
|
Sun: tree evading him |
a tendency to avoid dominance of someone who contributes to the traumatic experience of inadequacy. |
|
Tree as an unconscious portrait |
not a conscious picture of the development of the subject, including its usual sensitivity to the impacts and ways of responding to them. The attitude of the subject to a certain person. Association with the life role of the subject, its ability to receive satisfaction from its environment. |
|
Tree: one or group |
- "One" sense of isolation (or the need for communication), - "Group" may have additional values \u200b\u200bfor the experience of the dominance of others. |
|
Dead tree |
it is rarely found in drawings not bad adapted subjects. An indicator of experiences of physical inferiority, psychological inadequacy, voids, guilt. |
|
the subject considers the environment guilty of his difficulties (extrapacking). |
|
|
Tree, deceiving due to deprivation of roots, branches, trunk |
the sense of destruction, confusion, its own unacceptability. |
|
The tree is depicted by the facade - (if it symbolizes a person) |
the subject of the subject to the position of the implied face. |
|
Tree shown like two one-dimensional wood |
serious pathological splitness of affect and intelligence. |
|
Tree after his death has passed some time |
the relative duration of bad fixture or helplessness. |
|
Tree (key well) |
strong hostility, partial rigidity. |
|
Large tree, not placed on a sheet |
the subject is sharply feels a relationship with the medium. Slap look for pleasure more in activity than in the imagination. |
|
Wood, tilted to the left |
lack of equilibrium due to the desire for acute frank emotional pleasure and due to impulsive behavior. In relation to time - attachment to the past. Fear in front of the future |
|
Tipped |
lack of equilibrium due to fear before an open expression of strong emotions along with the revaluation of intelligence. |
|
Wood, presented only as a pencil or a piece of chalk |
rigidity, concreteness of thinking. |
|
Tree, sizes |
understanding the person of his position or representing the desired position. |
|
Little tree |
the feeling of inferiority, inadequacy. The desire to get away from ourselves, to divert. |
|
Tree, His hardness |
non-compliance of comments Figure. A non-permanent look at the symbolized face. Patamoform inattention. |
|
understanding the subject of its capabilities. |
|
|
Broken broken |
(The top touches the Earth) expresses a sense of subject that it was completely internal or external uncontrollable forces. |
|
Barrel dead |
feeling traumatic loss of ego-control. |
|
Trunk, thin contour |
feeling inadequacy, indecision ego. |
|
Big Barrel with Little Foliage |
unstable personal equilibrium due to frustration arising in connection with the inability to satisfy basic needs. |
|
The trunk is narrow at the base |
strong desire (struggle) that do not correspond to the forces of the subject. |
|
The trunk is one-dimensional with one-dimensional branches (no system) |
a strongly pronounced organic agent is possible, the experience of impotence. |
|
The barrel is unusual |
a sense of constraint with a medium with trends of aggressiveness. |
|
Barrel with accented peripheral contour |
|
|
The trunk is small |
basic feeling of inadequacy and absurdity. |
|
The wind blows towards the subject from the tree |
narcissical trends. |
HUMAN
Human. The point of view of the subject to its own person. The ideal image of the subject. Subject approach to interpersonal relations.
|
basic desire to fight, instrument management and medium measurement. |
|
|
Wide hands (scope) |
intensive desire for action. |
|
Hands are wider with the palm or at the shoulder |
insufficient reality control, impulsivity. |
|
Hands depicted not poured with a torso, and separately or across the back, elongated on the sides |
the subject catches himself sometimes on actions or actions that came out from under control. |
|
Hands crossed on the chest |
hostileous installation. |
|
Hands behind his back |
the reluctance to give up, compromise, the tendency to control the manifestation of aggressive, hostile deposits. |
|
Long arms, muscular |
the subject needs physical strength, dexterity, courage (compensation). |
|
Hands are too long |
excessively ambitious aspirations. |
|
Hands relaxed and flexible |
good adaptability in interpersonal relationships. |
|
Hands tense and pressed to the body |
niceness, rigidity. |
|
Hands thin |
the experience of weakness and futility of effort. |
|
Hands are very short |
the absence of aspirations along with a sense of inadequacy. |
|
Hands like wings |
sometimes found in schizoid patterns. |
|
deputy Fallos, a sign of the need to demonstrate masculinity. |
|
|
Belt, belt, often stroke |
a strong conflict between the expression of sexual and other things and their control. |
|
Breasts are very emphasized |
psychossexual relations and fixation, immaturity, maternal dependence. |
|
Hips are very emphasized |
psychossexual relations and fixation, immaturity, tendency to homosexuality (in men). |
|
regression or fixation at an oral level of addiction. |
|
|
The chin is too emphasized |
the need to dominate. |
|
Deformation of some part |
reflects similar or true deformations at the subject or adaptive reactions to them. |
|
Details of significant |
head, torso, two hands, two legs (exception - profile), two eyes, two ear, nose, mouth. |
|
Ears are emphasized, while the face is not completed |
hearing hallucinations are possible. Sometimes there are well-adapted mentally retarded and young normal children. |
|
Ears are too underlined |
hearing hallucinations are possible, there are especially sensitive to criticism. |
|
Little ears |
the desire does not take any criticism, drowning it. |
|
Eyes closed under the fields of hats |
strong desire to avoid unpleasant visual impacts. |
|
Eyes are depicted as empty orders |
a significant desire to avoid visual incentives, hostility. |
|
Eyes are not drawn |
visible hallucinations are possible. |
|
Facial features |
external incentives receptors, touch touch with reality |
|
The face is emphasized |
strong concern about relations with other, its appearance. |
|
Face features depicted |
the desire to ignore the receptors of external influences. The identity as much as possible is to delay identification of the personality. |
|
sign of immobility in interpersonal relationships. |
|
|
Foot disproportionately long |
the need for security, in the demonstration of masculinity. |
|
Foot disproportionately small |
subtitle, refined perception of reality. |
|
Foots too detailed |
excessive features with a pronounced female component. |
|
Foots are drawn in different directions |
highly ambivalent feelings. |
|
Fingers drawn last |
the same thing that hands. |
|
Fumbs are large, similar to nails (spikes) |
hostility. |
|
One-dimensional fingers, circled loop |
conscious efforts against aggressive feelings. |
|
strongly shaded: anxiety associated with thinking or imagination. |
|
|
Hair is shaded, not painted, framing your head as a tick |
the subject is controlled hostile feelings. |
|
Hands are drawn last |
significant undesirable to hasty, close, frank configurations with the medium. |
|
Hands are shaded |
feeling guilt due to any real or imaginary hand. |
|
Hands in pockets |
dumping, impulsive masturbation action. |
|
Hands are too large |
a tendency to adapt in social relations. |
|
sphere of intelligence, imagination. |
|
|
Large head |
underline the value of thinking, imagination as a source of pleasure. |
|
Little head |
disgrace, compulsiveness. |
|
Legs |
pathological experience of stiffness. |
|
Legs are widely placed |
frank disregard. |
|
Legs are too short |
the feeling of awkwardness, uncertainty .. |
|
Feet slightly shifted |
rigidity, tension, possibly bad sexual adaptation. |
|
The mouth is emphasized |
psychossexual relations, fixation. |
|
The mouth is too great |
oral eroticism. |
|
Muscles are accented (little covered with clothes) |
bulk narcissism, the desire to become schizoid, in-depth. |
|
symbol of a fullos substitute. |
|
|
Neck long and thin |
shizoid features. |
|
Needle skipped |
the subject is under the rule of his impressions. |
|
Neck is shown not in turn |
conflict between control and expression of emotions. |
|
Face an unpleasant subject from his environment |
|
|
Man of chopsticks |
psychopathy, communication with people in tightness. |
|
Man in smooth, easy step |
good adaptability. |
|
Profile man |
defense, closedness. |
|
Shoulders angular |
caution, protection. |
|
Shoulders small |
sensation of lowness, cruelty. |
|
Teeth outstanding |
aggression (in speech plan). |
|
Tie emphasized |
falus concern with the experience of impotence. |
|
Torchishche |
the location of basic needs and deposits. |
|
Torch long and narrow |
shizoid features. |
|
Torso too large |
the presence of a large number of unsatisfied, acutely conscientious needs. |
|
The torso is abnormally small |
denial of bodily flumeing, a sense of humiliation, low value. |
|
Waistline |
the expression of coordination between entry into power (up) and sexual entrepreneurs (down). |
|
caution, secrecy, the possibility of depersonalization and alienation. |
|
|
Transparent pants (visible legs) |
feeding anxiety due to homosexuality. |
|
Tube in mouth |
complex, funeral oral eroticism. |
|
affective deprivation, maternal dependence. |
|
|
Several pockets |
men's figure in a patient men, a passive homosexual tendency. |
|
Waving trousers |
masturbation concern. |
|
Uniforms of a soldier (cowboy) in a patient a man |
need for higher status in comparison with available |
|
aggressiveness. |
|
|
anxiety, concerns, depression. |
|
|
Figure of a man in the wind |
the need for love affection. |
|
Opported lines |
anxiety, unprotected. |
|
Unconded lines moving body parts |
next to psychosis. |
Details of man
|
Ankles, wrists small |
femininity. |
|
There are no feet and palms |
schizoide. |
|
Figure starts from the feet |
depression. |
|
Foots are not depicted |
challenge, timidity. |
|
Foot small (patient man) |
femininity, not a security. |
|
Fingers skipped or very long |
the feeling of guilt (due to masturbation). |
|
Thumbs |
Rudeness, worn, infantion |
|
Fingers like leaved |
Immaturity |
|
Fingers are shaded |
Guilt |
|
Fingers - arrows |
Open aggression |
|
Fingers without palm |
Rudeness, worn |
|
Fingers more than five |
Aggressiveness |
|
Finger less than five |
Dependence, powerlessness |
|
Fingers compressed in fists |
Rebuilding, protest |
|
Fists pressed to the body |
Protest |
|
Woman's hands in the pelvis area |
Men perception as sexually hostile |
|
Hands in the field of genitals |
autoerotism |
|
Hands behind your back or pockets |
Wine seeing |
|
Hands are not clear |
Lack of self-confidence in activities |
FACIAL EXPRESSION
|
Expression sub-industry |
Unprotected |
|
Children's features |
Infantile social behavior |
|
The face looks like a mask |
Caution, secrecy |
|
Primitive, very small features |
Schizophrenic trends |
|
Roth clown |
Forced friendliness |
|
Mouth shouldy |
Passive addiction |
|
Roth Oitcrew |
Cruise installation |
|
Nose long |
Impotence, the desire of masculinity |
|
Teeth are depicted |
Hidden aggression |
Type of Figure
Limb
|
Deformation of a hand or legs on the left side (man) |
Social Role Conflict |
|
Hands short |
Rejection of the mother's figures |
|
Arms or legs |
Femininity |
|
Hands long and mighty |
The need for autonomy |
|
Long and weak hands |
Dependence, need for care |
|
Hands are turned to the sides |
Dependence, desire for love |
|
Hands stretched on sides |
Social contacts |
|
Hands thin |
Feling deficiency achieved |
|
Joints accented |
Soroid or schizophrenia |
|
Legs are long |
The need for autonomy |
Line shape
Quality contour
|
Combination of confident, bright and light contours |
Rudeness, worn |
|
The contour is unclear, non-market |
Healing, timidity |
|
Lines weakening |
Hysterical trends |
|
Lines of unequal brightness |
Voltage |
|
Bright thick contour |
Aggression and fear |
|
Horizontal strokes |
Understanding imagination |
|
Prototched uneven lines |
Audacity |
|
Rule contour |
Sphere conflict |
|
Long strokes |
Controlled behavior |
|
Rhythmic hatch |
Sensitivity |
|
Vertical strokes |
Stubbornness, perseverance |
Multiple criteria
Age norms
Nude
Picture Location on Sheet
|
Optimism |
|
|
Depression |
|
|
In the middle |
Aggression |
|
On the left half |
Orientation on yourself |
|
On the right half |
Orientation at the environment |
|
Figure below the middle |
Concreteness |
|
Emotionic |
|
|
Foot on the lower edge of the sheet |
Need for stability |
|
Figure soaring |
Unprotected |
|
Large Figure |
Aggressive psychopath |
|
In the top left corner |
Regression |
Torchishche
Press (Pressure) Pencil
Simplification
Value
SYMMETRY
Other details.
|
Apology because of the drawing |
Insufficient confidence |
|
Name drawing |
Pettiness |
|
Gap on the thigh contour |
Sexy conflict |
|
Addiction |
|
|
The internal organs are shown |
Mania, schizophrenia |
|
Shoulders showed |
Uda, despair |
|
Too big shoulders |
Feeling male inferiority |
|
Shaded shoes |
Unprotected |
|
Stressed waist line |
Sex conflicts |
|
Knife, rifle, spear |
Delivened behavior |
|
Strong focusing |
Sexy conflict |
|
Buckle on the belt |
Addiction |
|
Buttons |
Dependence, inferiority |
|
Buttons on cuffs |
Obsessive element |
|
Cigarette |
Sexual sector concentration |
|
Cigarette in Gubach |
Complex, oral eroticism |
|
Too a lot of clothes |
Egocentric |
|
Inappropriate clothing |
Dissatisfaction with social status |
|
Transparent clothing |
Voieurism |
|
Exhibitionism, concentration on the sexual sphere |
|
|
Handkerchief in the pocket of the costume |
Sexual inferiority |
|
Transparent hat |
Primitive sexual behavior |
|
High heels in a man (patient man) |
Homoerotic trends |
Symptom complex aggressiveness in test
|
Symptom |
||
|
Hostility |
||
|
Lack of windows |
||
|
Door-kelp well |
||
|
Very big tree |
||
|
Tree with the edge of the sheet |
||
|
Reverse tree profile, man |
||
|
Branches of two measurements like fingers |
||
|
Eyes - Empty Eyeberg |
||
|
Long sharp fingers |
||
|
Oscal, teeth are visible |
||
|
Aggressive position of man |
||
|
The rear wall of the house is depicted on the other side; unusual |
||
|
Doors with a huge lock |
||
|
Window without glasses |
||
|
Lack of windows on the first floor of the house |
||
|
Hair is not shaded, not painted, framing your head |
||
|
Hands crossed on the chest |
||
|
Large fingers similar to nails (spikes) |
||
|
Caricature image. |
||
|
Prototched uneven lines |
||
|
Figure Baba-Yagi (to women) |
||
|
{!LANG-1544ddc6465fd65b4826fd74e9eb3327!} |
||
|
{!LANG-bd2252b15af1bec4054cfea04bc7ceda!} |
||
|
{!LANG-73b7c6231a969a8d7844c1464bc6c17c!} |
||
|
{!LANG-514a10e9847e1f6d17dcd10352d062a1!} |
||
|
{!LANG-04ebec812c438436d8fc60a6244f44b0!} |
||
|
{!LANG-1ef33eb6c9fbc732f8d976aaed588a01!} |
||
|
{!LANG-777d4f3c3ae9c76a04aaf33017c3c5e3!} |
||
|
{!LANG-4fd99df78acce6251543193dc9650f5d!} |
||
|
{!LANG-dae6c5a94aa01b9bf8b8093f8ded5d3f!} |
||
|
{!LANG-2752458241460b6755328b7a444121d9!} |
||
|
{!LANG-c90fdd5794fe9c06b708b82c9e1f9801!} |
||
|
{!LANG-41cfd67e8b583521d687419e4f5ce574!} |
||
|
{!LANG-bd2252b15af1bec4054cfea04bc7ceda!} |
||
|
Aggressiveness |
||
|
{!LANG-3a1d3018d38139c87131faebbe240780!} |
||
|
{!LANG-2f3f46e36d035a64637ba21f28189fbc!} |
||
|
{!LANG-e282f28a3e38ba2a5eb8e9fa488ae936!} |
||
|
{!LANG-a1dbc713f98a0c7075ba9bb1785482ef!} |
||
|
{!LANG-3b4fcb20ecbe8b4456a545fbaf5e957e!} |
||
|
{!LANG-bca0c09620f87f11e58f7b91a6aafbae!} |
||
|
Thumbs |
||
|
{!LANG-de4f39ee19ace70752b15129457866f8!} |
||
|
{!LANG-dece369b35cfd46eb940655cba23ede6!} |
||
|
{!LANG-31e3ba8d6e5fb7153fd138d501bfc8fc!} |
||
|
{!LANG-f3bb361e1e1d71eb87b4cf23ba887c54!} |
||
|
{!LANG-0819cb2eb1c537a924d6e6e17604b1f5!} |
||
|
{!LANG-0e1deb4456748398995651947b06b5ee!} |
||
|
{!LANG-3ecc01748e8b1002b93ee9ca754b59d6!} |
||
|
{!LANG-bd2252b15af1bec4054cfea04bc7ceda!} |
||
|
{!LANG-63a3fd6f170b12851d73c155acffed8a!} |
||
|
{!LANG-3a1d3018d38139c87131faebbe240780!} |
||
|
{!LANG-bd87f7d3d253bc0126ab8d92c487ac6c!} |
||
|
Little ears |
||
|
Ears are too underlined |
||
|
{!LANG-1d4fd461e13affe916cabf0f8a38ea7b!} |
||
|
Fists pressed to the body |
||
|
{!LANG-750b242ec1a55ac72cde6abfc2852c9c!} |
||
|
{!LANG-0b3ff351650a753a4d82d167897d9063!} |
||
|
Legs are widely placed |
{!LANG-a820f797a9507dc5ca4cb64fa8896d68!}
{!LANG-4543ce8f4c7cd8c9c16152019f542309!}
{!LANG-5c77a12eb36a4012616ff65e3a974b51!}
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{!LANG-2a63b9759ca3dee4e557ada1ff8428a0!}
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{!LANG-0739f9e159e0901ac8b4adfa8f2a16a2!}
{!LANG-21b7b9c6516dc06ff441893cd7acc27b!}
{!LANG-fb4fd34bf310b0a694d943c1e723369d!}
{!LANG-146a6e0a8ea246bb960987bbe7be2d75!}
{!LANG-c2eb08d60bbb7102b4dd3bce2acfa178!}
{!LANG-49d852fb9da081ef5f50921571d90d75!}
{!LANG-dfcfc34301ca1c2a786e6d85975dda3b!}
{!LANG-50633de531a73d41aa8c6a182e334b42!}
{!LANG-94503676ba2bc6cf17efa9da92ec7a93!}
{!LANG-16cc5e2de2a647547073ffc4536b0f7d!}
{!LANG-e7eae03e65d6c1f3edb3c9c5537b8cde!}
{!LANG-0b859170228c9fd49a3f50ddb25933d9!}
{!LANG-5c2f35634a23d4a3e93098ab01934361!}
{!LANG-f6b9dfc99458196845747b0f4b20e2d8!}
{!LANG-865eb71fe791cd1910e2e17845d011cd!}
{!LANG-c8f1bb76d30246ec4e9acabc5df91ade!}
{!LANG-eea0cfece422929a587a96c59f25658d!}
{!LANG-ae3cbc688e15b3cc57f1adeba6f8209b!}
{!LANG-98583a5e8adb2201b5f8b866d6293e41!}
{!LANG-278c0664df69aaf54d5fbf1fd62f5932!}
{!LANG-51faec6ee3064474b6861834cd8fa456!}
{!LANG-917681b3732c73477588533655639e33!}
{!LANG-2bb4920e658a86fa129e5aaf4c38cf08!}
{!LANG-61936644a6d1a025e4851b46106f6ee2!}
{!LANG-36f69d441ae94c68281c8b657d8e6540!}
{!LANG-a9786d93854b218505333d902782b2f7!}
{!LANG-091e6559f12d4fbe37ce514cb4f8b497!}
{!LANG-af6a6e64da31d920af56fbbd9abf0360!}
{!LANG-93e58e18060763092ca2ed0f0fa753cd!}
{!LANG-3153863bba0d2779670cbb94087ff356!}
{!LANG-ab3f357d67d851a7ed63448639827d54!}
{!LANG-80453d9b3d9bb05e6ef7acfbdb701af9!}
{!LANG-7425ae73b8e126840a905ab72fdd99ce!}
{!LANG-0fbe153174cb26f6f04b01652ec47065!}
{!LANG-6b3b75b9fbceeef65c213a0eedd8f4f5!}
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{!LANG-047d9ae0b97e97a3d9602359582fa7e7!}
{!LANG-ac135667a4a3ae61d2e034e8b9ca9d69!}
{!LANG-a6ffc2bfe505b3995483da57e3776ab8!}
{!LANG-689ef5c232c6805bfb726e67835c1fc2!}
{!LANG-562b92d5a7a62f6fd8aac45affc6425d!}
{!LANG-d8fdd113e623eacca272e7c14ea24545!}
{!LANG-582fbdbc4c74ce01c8461a5b920593e5!}
{!LANG-9bb3fd83c3c2e2b747f67ad6eeb28fee!}
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{!LANG-345a005bbd406bdbb48bd80bc4e04513!}
{!LANG-638edcab230bd2b5cf61d73b4c742206!}
{!LANG-f5912eb2fa726940b58b4eec5dd1196d!}
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{!LANG-b38434945cee3c9767db9e7284333d76!}
{!LANG-ea140db0abf984eba419d688fc6ea5cd!}
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{!LANG-9d13549703cfd57b7852bd705a7467ac!}
{!LANG-cc064815cc61fa7498e8fe1b377681d2!}
{!LANG-0216ed28ac71ac5455c73c5fc24cbbac!}
{!LANG-7aab680b6fecea69179bafaf9b5373ce!}
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{!LANG-f65c3e5a680ab2c21b390a1835f32bc8!}
{!LANG-bea8ada2730ad3628043ff7501ebaf3b!}
{!LANG-68662f7420c2dc6e0793de9e4d56000a!}
{!LANG-e1ce8ee88d8a465277bc4f73a68a836c!}
{!LANG-133b74ea285085234144f38cb982fb47!}
{!LANG-0b764aa1db950f0341dcde10e963dcc0!}
{!LANG-7b267d574a1ac2a3cdac487e66e6b42a!}
{!LANG-23e55d41d30f790b51318454796f0440!}
{!LANG-8383fb96e2ac79d1c99a3d23c39926e8!}
{!LANG-568ba378a0ebd7ec983e13d1076bb9a5!}
{!LANG-ab21117788fec78d412296e26e8feca3!}
{!LANG-a14f65f31b14f5ff84b7a1569f579320!}
{!LANG-c6f18e953f0ed905dde8935451ec7e88!}
{!LANG-2ff4cee2a9f6beb7f667c85c763a56cb!}
{!LANG-36341490eca0f5b70939e0782696d49a!}
{!LANG-da49e00b378d2274649b834fb4ccdd32!}
{!LANG-d1505e9224f2ebc2d91ff4f839135919!}
{!LANG-d14b8f58b9656198608ebab5026b5f34!}
{!LANG-a0246d787f14adbeb811fe7ccaafde4b!}
{!LANG-b1051252175cd95d6a8b84ee167de1c7!}
{!LANG-a976cef0df167c15f7e55551e05e365a!}
{!LANG-6776718a14dd9a66be1a8d0d10303cf1!}
{!LANG-6d26f4b0f84a8da62bb5b908be7f958f!}
{!LANG-1675b5b301be488948f6b2d0c8adc73f!}
{!LANG-0ed28e51a0fcf82f70e4279a8bf41a09!}
{!LANG-05cdf0fb7d309ed15f2243b0236e0114!}
{!LANG-453539feb0b959edc07d2fb59b7ebe27!}
{!LANG-4350bdc5a32c8e9c7981cf1bce618fc4!}
{!LANG-06688187071a0cda70c9de33bfa77404!}
{!LANG-6503b05f11257527e24d73335787f3b1!}
{!LANG-2cf816f226c373df89ff07833238c8b1!}
{!LANG-d6116dcdb28b90d56a9873ecc7e3fa9e!}
{!LANG-2e9a36d8ef0a851a05c882bb87476843!}
{!LANG-e19339898465e067ad0adb32ea8f57db!}
{!LANG-735805873fc2a8a5aafac6c7b6a28aea!}
{!LANG-9d3cdd3790a1fd20d0b19384b312dd33!}
{!LANG-1a8417cce049ba90bf185a4aae8d725e!}
{!LANG-f6a3ac13de73484bc8b5a3678c6e6e61!}
{!LANG-df987963a58bd8af44bc38e423b9a60f!}
{!LANG-336dcd71b07832687c476b1fde7d5eb4!}
{!LANG-780d07951e4ac0354ac2fba788c7ea1f!}
{!LANG-18eaeb75efbc84aa22dcbe38a5d2a10d!}
{!LANG-9fd962d2a96989f8bf522035011e11f1!}
{!LANG-0500003f55ac0ba5f6872af1ad95e6b1!}
{!LANG-49441cbf23f3e3d3e162a6a12d17513b!}
{!LANG-c8e233f269406e65f5d1cacb66e11467!}
{!LANG-61c6540b73bfb51f0d143b23459b6d0a!}
{!LANG-6d23068f286a86249d975ac9e290fe66!}
{!LANG-7da2d78c6ed806d769dc5d0a759770bb!}
{!LANG-5657ddf79f6ab042f7458e6057896d11!}
{!LANG-96cd9591854b2d349f331c7038d8475a!}
{!LANG-bea8ada2730ad3628043ff7501ebaf3b!}
{!LANG-7f94a906ad210ab771866ee77b99cc67!}
{!LANG-1351ad243718570bd76e07565bde7796!}
{!LANG-ccd2a50a7d9c7e02b67955cb60288c08!}
{!LANG-0cc0e7663919cb9553f5baf36e9844c9!}
{!LANG-d69d933cfec654cee72d9374cb77871e!}
{!LANG-b676076664d6a87611fcd6c48076222b!}
{!LANG-c249a96710328650a7976e6bda756e61!}
{!LANG-9d480682deeed84ffdeac17c1a1fb0dd!}
{!LANG-f3f34e2a4c66125dd8dc6073f9992e69!}
{!LANG-b4bde78ec634aa457760406cb5f00edb!}
{!LANG-fafa4a9855c2fc74b4b27517838c987f!}
{!LANG-bfb60dccba873ccdb0f8905bf8e8e7c1!}
{!LANG-b5b1f4bc2e322ed2dc36db76897de1a6!}
{!LANG-77e1c3b93687cca48c0624391ca0dbe9!}
{!LANG-ba09440db68a2ccdfb348afc928dcf1b!}
{!LANG-d7f473b8a97b116868127f066b271c2c!}
{!LANG-1e96a68f7d495b4694769fe5b1780abd!}
{!LANG-0c08e7f95c16be75af7364dc511d19e5!}
{!LANG-fb6fd3140376eb87b411fde80b0f516e!}
{!LANG-2671bda1c5a15e951a39a37268c64c17!}
{!LANG-21502756e13371453f2599908351b8fb!}
{!LANG-b8b12669821df8e7c79724bccd559bf5!}
{!LANG-8aa07715cdee78691de065a41f6ce258!}
{!LANG-4f23cb8e6afae8673e297ea506b15017!}
{!LANG-6e354aadc83c8d077028cc55d5c706af!}
{!LANG-005ee2fb13a7f4cffd00f60de217c257!}
{!LANG-5f1b48baae552fdd6e7da6a5e7f4c719!}
{!LANG-4af6e17799f144d66b829c3d446a782b!}
{!LANG-e98cde3b8c1a37a30456f8a1f51f2f4d!}
{!LANG-8df5c9a68aba78b6f218ba7dbc258896!}
{!LANG-e6b7e31be2891354e6d47cd3c5a9f2fa!}
{!LANG-d9273c0572f2b45436405ed40087b5cb!}
{!LANG-7394b9c2d61b9aa0665acb828ae1dbba!}
{!LANG-4c89fff8e241609b407cdfe986fa6f6e!}
{!LANG-a2511db36d389a40db38bce904f37bdb!}
{!LANG-55a36da318c33f2c4d7cb0208e5d0516!}
{!LANG-f1e333bb45ed0d7d80022eaca0618a14!}
{!LANG-00a868c8ad1f3b455df365a8a277f852!}
{!LANG-8486b578bfa8caacce8fda8a8760070b!}
{!LANG-2e8d5ef7081b2ae7686d860790fdaa28!}
{!LANG-310c4a0f78365bede89618be09863477!}
{!LANG-886a7bd1f95ee775c5c220bd2e76c14d!}
{!LANG-32d165a69b9cd8b24b9eb1c4e91d9a0f!}
{!LANG-826b58c7c8e6a83856f6efc4bc6cc204!}
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