Methodology for the study of personality "house - tree - person"

Designed for both adults and children, group examination is possible.

The essence of the technique is as follows. The subject is invited draw a house, a tree and a person... Then a survey is carried out according to the developed plan.

R. Burns, when using the HDC test, asks to depict a tree, a house and a person in one drawing, in one scene that is taking place. The interaction between a house, a tree and a person is believed to be a visual metaphor. If you bring the whole drawing into action, then it is quite possible to notice what is really happening in our life.

A special way of interpretation can be the order in which the drawing of a house, a tree and a person is performed. If a tree is drawn first, then the main thing for a person is vital energy; if the house is drawn first, then in the first place - safety, success, or, conversely, neglect of these concepts.

Interpretation of signs in the test "House-Tree-Man"

"House"

The house is old, sometimes ruined, the subject in this way can express an attitude towards himself.

A home away is a feeling of rejection (rejection).

Home close - 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 directed against the actual owner of the house or rebellion against what the subject considers to be artificial and cultural standards.

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

The steps leading to a blank wall (without doors) are a reflection of a conflict situation that harms the correct assessment of reality. The inaccessibility of the subject (although he himself may desire free heartfelt communication).

Walls.

The back wall, depicted from the other side, is unusual - conscious attempts at self-control, adaptation to conventions, but at the same time there are strong hostile tendencies.

The contour of the back wall is significantly thicker (brighter) compared to other details - the subject seeks to maintain (not lose) contact with reality.

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

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

A wall with an accented horizontal dimension - poor orientation in time (dominance of the past or future). Subject may be very sensitive to environmental pressure.

Wall: the side contour of an ingot is thin and inadequate - a presentiment (threat) of a catastrophe.

Wall: Contours of lines are too emphasized - a dubious desire to maintain control.

Wall: One Dimensional Perspective - Only one side depicted. If it is a sidewall, 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.

Wall with an accented vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.

Doors

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

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

Doors (one or more) are front doors - the first sign of frankness, attainability.

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 their social sociability.

The doors are very small - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecision in social situations.

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

The smoke is very thick - significant internal stress (intensity according to the density of the smoke).

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

Window .

Windows - the first floor is drawn at the end - aversion to interpersonal relationships. The tendency towards isolation from reality.

Windows strongly open - subject behaves somewhat cheeky and straightforward. Many windows show a willingness to contact, and the absence of curtains indicates a lack of desire to hide their feelings.

Windows heavily closed (curtained). Concern about interaction with the environment (if it is significant for the subject).

Windows without glass - hostility, alienation. There are no windows on the lower floor, but there are on the upper floor - a chasm "between real life and fantasy life.

Roof.

The roof is a realm of fantasy. The roof and chimney, blown off by the wind, symbolically express the subject's feelings that they are commanded, regardless of their own willpower.

The roof, the bold outline that is not characteristic of the entire drawing, is a fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

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

Roof, thick edge contour - overly preoccupation with controlling (curbing) fantasy.

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

The eaves of the roof, accentuating it with a bright contour or extending beyond the walls is an intensely protective (usually suspicious) installation.

Room.

Associations can arise in connection with:

1) with the person living in the room;

2) with interpersonal relationships in the room;

3) with the purpose of this room (real or attributed to it). Associations can be positive or tripod emotional.

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

Room: Subject chooses the closest room - suspicious.

Bath .

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

Pipe .

Lack of Trumpet - Subject feels a lack of psychological warmth at home.

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

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

Downpipes are enhanced protection and are usually suspicious.

Water pipes (or gutters from the roof) are reinforced protective installations (and usually increased suspiciousness).

Supplements.

Transparent, "glass" box. Symbolizes the experience of exposing yourself to everyone. He is accompanied by a desire to demonstrate himself, but limited only by visual contact.

Trees.

Often they symbolize different faces. If they seem to be "hiding" the house, there may be a strong need for parental dominance dependency.

Bushes.

Sometimes they symbolize people. If they closely surround the home, there may be a strong desire to enclose itself with protective barriers.

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

The path, well proportioned, easily drawn, shows that the individual in contact with others exhibits tact and self-control.

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

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

The sun .

Weather (what kind of weather is shown).

Reflects the environment-related experiences of the subject and the whole. Most likely, the worse and more unpleasant the weather is depicted, the more likely it is that the subject perceives the environment as hostile and constraining.

Colour.

Color, conventional, common use. Green for the roof, brown for the walls. Yellow, if used only to depict light inside the house, thereby displaying night or its approach, expresses the feelings of the subject, namely:

1) the environment is hostile to him,

2) his actions must be hidden from prying eyes.

The number of colors used. A well-adapted, shy, and emotionally deprived subject usually uses no less than two or no more than five colors. A subject who paints a house with seven or eight colors is very labile at best. He who uses only one color is afraid of emotional excitement.

The longer, the more insecure, and the harder the subject selects colors, the more likely they are to have personality disorders.

Black color - shyness, fearfulness.

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

Orange is a combination of sensitivity and hostility.

The color magenta is a strong need for power.

Red is the most sensitive. Demand for heat from the environment.

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

Shading outside the drawing is a tendency towards an impulsive response to additional stimulation.

The color is yellow - strong signs of hostility.

General form.

Placing a drawing on the edge of the sheet is a generalized feeling of insecurity, danger. Often associated with a specific time value:

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

b) associated with the purpose of the room or with its permanent tenant,

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

Perspective.

The perspective "above the subject" (looking from the bottom up) - the feeling that the subject is rejected, removed, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.

Perspective, drawing depicted in the distance- the desire to move away from the conventional society. Feelings of isolation, rejection. A clear tendency to separate from the environment. The desire to reject, not recognize this drawing or what it symbolizes. Perspective, signs of “loss of perspective” (an individual correctly draws one end of the house, but in the other he draws a vertical line of the roof and walls - he does not know how to depict depth) - signals the beginning of the difficulties of integration, fear of the future (if the vertical side line is on the right), or the desire to forget the past (line to the left).

The perspective is triple (three-dimensional, the subject draws at least four separate walls, on which even two are not in the same plane) - excessive concern about the opinion of others about himself. The desire to keep in mind (to recognize) all connections, even insignificant, all features.

Placement of the picture.

Placing the drawing over the center of the sheet - the more the drawing is above the center, the more likely it is that:

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

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

3) the subject is inclined to stay aloof.

Placing the drawing exactly in the center of the sheet is unprotected and rigid (straightness). The need for nurturing control to maintain mental balance.

Placing the picture below the center of the sheet.

The lower the drawing is in relation to the center of the sheet, the more it looks like:

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

2) the subject feels limited, constrained by reality.

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

Placing a drawing in the upper left corner of the sheet is a tendency to avoid new experiences. Desire to go back in time or delve into fantasies.

Placing the drawing on the right half of the sheet - the subject is inclined to seek pleasure in the intellectual spheres. Controlled behavior. Emphasizing the future.

The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free frank emotional experiences.

Going beyond the right edge of the sheet is a desire to "run away" into the future in order to get rid of the past. Fear of open free experiences. Striving to maintain tight control.

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

The contours are very straight - rigidity.

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

Drawing processing scheme in the "House" test
P / p No.	Highlighted feature
	Schematic representation
	Detailed image
	Metaphorical image
	Town house
	Country house
	Borrowing from a literary or fairy tale plot
	The presence of windows and their number
	Presence of doors
	Smoke pipe
10.	Shutters on windows
11.	Window size
12.	House total size
13.	The presence of a front garden
14.	The presence of people near the house and in the house
15.	The presence of a porch
16.	The presence of curtains on the windows
17.	The presence of plants (number)
18.	Number of animals
19.	The presence of a landscape image (clouds, sun, mountains, etc.)
20.	The presence of shading on the intensity scale 1,2,3
21.	Line thickness on a scale of intensity 1,2,3
22.	The door is open
23.	Closed door

"Human"

The head is the sphere of intelligence (control). Sphere of imagination.

Big head - unconscious emphasis on beliefs about the importance of thinking in human activity.

The head is small - the experience of intellectual inadequacy.

Fuzzy head - shyness, shyness.

The head is depicted at the very end - interpersonal conflict.

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

The neck is an organ symbolizing the connection between the sphere of control (head) and the sphere of drives (body). So shaved, this is their coordination sign.

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

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

Long thin neck - inhibition, regression.

Thick short neck - concessions to one's weaknesses and Desires, an expression of an unsuppressed impulse.

Shoulders, their size - a sign of physical strength or need for power.

Shoulders oversized - feeling too strong or overly concerned about strength and power.

Small shoulders - a feeling of inferiority, insignificance.

Shoulders are too angular - a sign of excessive caution and protection.

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

Broad shoulders - strong bodily impulses.

The torso.

The body is angular or square - masculinity.

The body is too large - the presence of unsatisfied, acutely conscious needs of the subject.

The body is abnormally small - a feeling of humiliation, of little value.

Face.

Facial features include eyes, ears, mouth, nose. These are receptors for external stimuli - sensory contact with reality.

The face is emphasized - a strong concern with relationships with others, with their appearance.

The chin is underlined with an ingot - the need to dominate.

The chin is too large - compensation for perceived weakness and indecision.

Ears are too accentuated - auditory hallucinations are possible. Occur among those who are particularly sensitive to criticism.

Ears are small - the desire not to accept any criticism, to drown it out.

Eyes closed or hidden under the brim of the hat - a strong tendency to avoid unpleasant visual influences.

The eyes are depicted as empty eye sockets - a significant tendency to avoid visual stimuli. Hostility.

Eyes bulging - rudeness, callousness.

Small eyes - self-absorption.

Failing eyes - rudeness, callousness.

Long eyelashes - flirtatiousness, a tendency to seduce, seduce, demonstrate oneself.

Full lips on a man's face are feminine.

The clown's mouth is forced affability, inadequate feelings.

The mouth is sunken - passive significance.

The nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think with ironic social stereotypes.

Nostrils are primitive aggression.

The teeth are clearly drawn - aggressive.

The face is unclear, dull - fearfulness, shyness.

Facial expression obsequious - insecurity.

A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.

The eyebrows are sparse, short - contempt, sophistication.

Hair is a sign of masculinity (courage, strength, maturity and the pursuit of it).

Hair heavily shaded - anxiety associated with thinking or imagination.

The stripes are not shaded, not painted over, they frame the head - the subject is ruled by hostile feelings.

Extremities.

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

Broad arms (arm span) - intense drive for action.

The arms are wider at the palm or at the shoulder - insufficient action and impulsiveness.

Hands, depicted not in one piece with the body, separately, extended to the sides - the subject sometimes catches himself in actions or deeds that are out of his control.

Arms 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 drives.

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

Arms that are too long - overly ambitious Aspirations.

The arms are relaxed and flexible - good adaptability in interpersonal relationships.

Hands tense and pressed to the body - sluggishness, rigidity.

Hands are very short - lack of aspirations along with a Feeling of inadequacy.

Large ingot hands - a strong need for better adaptability in social relations with a feeling of inadequacy and a tendency to impulsive behavior.

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

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

Hands are shown close to the body - tension.

A man has large arms and legs - rudeness, callousness.

Tapering arms and legs - femininity.

Long arms - a desire to achieve something, to take possession of something.

The arms are long and weak - addiction, the need for custody.

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

Hands extended at the sides - difficulties in social contacts, fear of aggressive impulses.

Strong hands - aggressiveness, energy.

Hands are thin, weak - a feeling of inadequacy 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 vaguely outlined - lack of self-confidence in activities and social relationships.

Large hands - compensation for perceived weakness and guilt.

Hands are absent in the female figure - the mother's figure is perceived as unloving, rejecting, unsupportive.

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

Thumbs - rudeness, callousness, aggression.

More than five fingers - aggressiveness, ambition.

Fingers without palms - rudeness, callousness, aggression.

Fingers less than five - addiction, powerlessness.

Long fingers - open aggression.

Fingers clenched into fists - rebellion, protest.

Fists far from the body - open protest.

Fingers are large, like nails (thorns) - hostility.

Fingers are one-dimensional, circled in a loop - a conscious effort against aggressive feelings.

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

Legs are too short - a feeling of physical or psychological awkwardness.

The drawing started with the feet and legs - fearfulness.

Feet are not depicted - isolation, shyness.

Legs wide apart - outright disregard (disobedience, ignorance, or insecurity).

Legs of unequal sizes - ambivalence in the pursuit of independence.

There are no legs - shyness, isolation.

Legs are accented - rudeness, callousness.

Feet - a sign of mobility (physiological or psychological) in interpersonal relationships.

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

Feet disproportionately small - stiffness, dependence.

Pose.

The face is depicted so that the back of the head is visible - a tendency towards isolation.

Head in profile, body in full face - anxiety caused by the social environment and the need for communication.

A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.

The person depicted as running is a desire to run away, to hide from someone.

A person with visible imbalance in relation to the right or left sides - lack of personal balance.

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

A person in blind flight - panic fears are possible.

A person in a smooth light stride - good adaptability.

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

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

Unbalanced standing figure - tension.

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

A robot instead of a male figure - depersonalization, a sense of external controlling forces.

A stick figure - can mean evasion and negativism.

The figure of Baba Yaga is open hostility towards women.

A clown, a caricature - a typical adolescent experience of inferiority and rejection, hostility, self-contempt.

Background, surroundings.

Clouds - fearful anxiety, apprehension, depression.

Fence for support, contour of the ground - insecurity.

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

The base line (ground) is insecurity. It is the necessary reference point (support) for constructing the integrity of the drawing. Gives it stability. The meaning of this line sometimes depends on the quality given to it by the subject, for example, "a boy is skating on thin ice." The base is often painted under a house or a tree, less often under a person.

The weapon is aggressiveness.

Multidimensional criteria.

Line breaks, blurred details, gaps, accentuation, shading are the area of ​​conflict.

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

A combination of hard, bright and light lines, thumbs, eyes, fingers, hair are accented. Poses with widely spaced legs - roughness, callousness.

Contour, pressure, shading, location.

Few curved lines, many sharp corners - aggressiveness, poor adaptation.

Rounded (rounded) lines - femininity.

The combination of confident, bright and light contours - rudeness, callousness.

The contour is dim, unclear- fearfulness, timidity.

Energetic, confident strokes - persistence, safety.

Lines of unequal brightness - voltage.

Thin extended lines - tension.

An unbreakable, accentuated contour that framing the figure - isolation.

Outline outline - anxiety, timidity.

Breaking a contour is an area of ​​conflict.

The line is underlined - anxiety, insecurity. Sphere of conflicts. Regression (especially in relation to the underlined detail).

Jagged, jagged lines - insolence, hostility.

Confident firm lines - ambition, zeal.

The bright line is rudeness.

Strong pressure - energy, perseverance. Great tension.

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

Lines with pressure - aggressiveness, persistence.

Uneven, uneven pressure - cyclothymic, impulsivity, instability, anxiety, insecurity.

Changeable pressure - emotional instability, labile moods.

The length of the strokes.

If the patient is excitable, the strokes are shortened; if not, they are lengthened.

Direct strokes - stubbornness, perseverance, tenacity.

Short strokes - impulsive behavior.

Rhythmic shading - sensitivity, sympathy, relaxedness.

Short, sketchy strokes - anxiety, uncertainty.

The strokes are angular, constrained - tension, isolation.

Horizontal strokes - emphasizing imagination, femininity, weakness.

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

Vertical strokes - stubbornness, persistence, determination, hyperactivity.

Shading from right to left - introversion, isolation.

Strokes from left to right - the presence of motivation.

Shading from oneself - aggression, extraversion.

Erasure - anxiety, apprehension.

Frequent erasures - indecision, dissatisfaction with oneself. Redrawing erasure (if the redrawing is more perfect) is a good sign.

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

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

Large drawing - expansiveness, a tendency to vanity, arrogance.

Small figures - anxiety, emotional dependence, feelings of discomfort and stiffness.

A very small figure with a thin outline - stiffness, a feeling of one's own inferiority and insignificance.

Lack of symmetry is insecurity.

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

A full-page drawing is a compensatory self-exaltation in the imagination.

Details.

What is important here is their knowledge, the ability to operate with them and adapt to specific practical conditions of life. The researcher should notice the degree of interest of the subject in such things, the degree of realism, r with which he perceives them, the relative importance that he attaches to them; a way of connecting these parts together.

The details are essential.

The absence of significant details in the drawing of a subject, which, as you know, now Eli in the recent past was characterized by an average or Ox of her high intelligence, often shows intellectual degradation or serious emotional disturbance.

Excessive parts.

"The inevitability of corporeality" (inability to limit oneself) indicates a forced need to adjust the whole situation, to excessive concern for the environment. The nature of the details (significant, insignificant or strange) can serve to more accurately determine the specificity of sensitivity.

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

Insufficient detail - tendencies towards isolation.

Particularly scrupulous detailing - stiffness, pedantry.

Orientation in the building.

The ability to critically evaluate a drawing when asked to criticize it is a criterion for unlocked contact with reality.

Accepting the assignment with minimal protest is a good start, followed by fatigue and drawing interruptions.

Drawing apologies - lack of confidence.

In the course of drawing, darkness decreases and productivity - rapid exhaustion.

The title of the picture is extraversion, the need for support. Pettiness.

The left half of the figure is underlined - identification with the female gender.

He paints persistently, despite the difficulties - a good forecast, energy.

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

"Wood"

Interpretation according to K. Koch proceeds from the provisions of K. Jung (a tree is a symbol of a standing person).

Roots are collective, unconscious.

Trunk - impulses, instincts, primitive stages.

Branches - passivity or opposition to life.

The interpretation of a tree design always contains a permanent core (roots, trunk, branches) and decorative elements (foliage, fruit, landscape).

As we have already noted, K. Koch's interpretation was aimed mainly at identifying pathological signs and features of mental development. In our opinion, there are a number of contradictions in the interpretation, as well as 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 “the gift of observation”, “strong imagination”, “frequent inventor” or: “insufficient concentration” - what? What is the reality behind this concept? Remains unknown. In addition, the interpretation of signs contains an excessive use of everyday definitions. For example: "emptiness", "bombast", "pompous", "flat", "vulgar", "shallow", "narrow-minded", "pretentiousness", "pretense", "stiffness", "pretentiousness", "phony" and right there - "the gift of constructiveness", "ability to systematics", "technical giftedness"; or a combination of "self-discipline", "self-control", "good breeding" - "pomp", "arrogance", "indifference", "indifference".

We would like to draw your 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.

In this regard, we propose a version of the interpretation described in the modern literature, which, in our opinion, can be used in the daily practice of psychological counseling.

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

The earth sinks to the right edge of the leaf - a breakdown, lack of aspirations.

Roots.

The roots are smaller than the trunk - the desire to see the hidden, closed.

The roots are equal to the trunk - a lot of strong curiosity already presenting a problem.

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

The roots are marked with a dash - childish behavior in relation to what is kept secret.

Corinne in the form of two lines - the ability to discriminate and prudence in assessing the real; the different shape of these roots may be associated with a desire to live, suppress or express some tendencies in an unfamiliar circle or close environment.

Symmetry is the tendency to appear in harmony with the outside world. Expressed tendency to contain aggressiveness. Fluctuations in choosing a position in relation to feelings, ambivalence, which can be a source of internal conflict. Inhibited moral problems.

The location on the sheet is ambiguous - the attitude to the past, to what the drawing depicts, that is, to your deed. Double desire: independence and protection within the environment. The central position is the desire to find agreement, balance with others. Indicates the need for strict and rigorous systematization based on habits.

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

Foliage shape

Round crown - exaltation, emotionality.

Circles in foliage - seeking calming and rewarding sensations, feelings of abandonment and frustration.

The branches are down - loss of courage, refusal of effort.

Branches up - enthusiasm, impulse, desire for power.

Branches in different directions - the search for self-affirmation, contacts, self-spraying, fussiness, sensitivity to the environment, does not oppose it.

Mesh foliage, more or less dense - more or less dexterity in avoiding problem situations.

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

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

Closed foliage - protecting your inner world in a childish way.

Closed dense foliage - non-manifest aggressiveness.

Foliage details that are not related to the whole are judgments that take insignificant details as a characteristic of the phenomenon as a whole.

Branches come out of one section on the trunk - a child's search for protection, the norm for a child of seven years old.

Branches are drawn in one line - escape from the troubles of reality, its transformation and embellishment.

Thick branches - good discernment of reality.

Loop leaves - prefers to use his charm.

Zigzags in foliage - caution and secrecy.

Mesh foliage - avoiding discomfort.

Foliage that looks like a pattern - femininity, friendliness, charm.

Palm - the desire to change places.

Weeping willow - lack of energy and enthusiasm, striving for firm support and the search for positive contacts; returning to the past and childhood experiences; difficulty making decisions.

Blackening, shading - tension, anxiety.

The trunk is blackened - internal anxiety, suspicion, fear of being abandoned; latent aggressiveness.

The trunk is a desire to be like a mother, to do everything like her, or a desire to be like a father, to measure strength with him, a reflection of failures.

The trunk is in the form of a broken dome - a keen sense of external compulsion and the inability to resist it.

The dividing line in the foliage is passivity, softness, pliability.

Trunk from one line - refusal to really look at things.

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

Foliage in thin lines - subtle sensitivity, suggestibility.

The trunk with lines with pressure - decisiveness, activity, productivity.

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

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

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

The branches are not connected with the trunk - a departure from reality that does not correspond to desires, an attempt to "escape" from it into dreams and games.

The trunk is open and connected with foliage - good intelligence, normal development, the desire to preserve your inner peace.

The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.

The trunk is limited from below - a feeling of unhappiness; looking for support.

The trunk expands downwards - searching for a secure position in its 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 your "I" against the restless world.

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

The lower half of the leaf is less dependent and timid.

Three-quarters of a leaf is a good adaptation to the environment.

The sheet is used in its entirety - wants to be noticed, rely on others, assert itself.

Foliage Height (The page is divided into eight parts):
1/8 - lack of reflection and control. The norm for a child of four years old,
1/4 - the ability to comprehend your experience and slow down your actions,
3/8 - good control and reflection,
1/2 - interiorization, hopes, compensatory dreams, 5/8 - intense spiritual life,
6/8 - the height of foliage is in direct proportion to intellectual development and spiritual interests,
7/8 - foliage takes up almost the entire page - flight into dreams.

Image manner

Sharp peak - protects against danger, real or imaginary, perceived as a personal attack;

desire to act on others, attack or defend, difficulty in contacts;

wants to compensate for the feeling of inferiority, the desire for power;

seeking a safe haven because of a sense of abandonment for a firm position, the need for tenderness.

Multiple trees (several trees on one leaf) - childish behavior, the subject does not follow these instructions.

The main life task of a person is to give life to himself, to become what he is potentially. The most important fruit of his efforts is his own personality.
Erich Fromm

And we move on to the second part of the famous, classic drawing test "ДДЧ", in fact, to the part - the House.

There are some techniques that require simultaneous drawing on a sheet at once - at home, and a tree, and a person. I am describing a different technique, according to which "the house is a tree man" - these are three separate drawings.

So, "House", "Tree" and "Man". THREE DIFFERENT TASKS. They should not be combined on one sheet if you want to get a detailed, well-designed drawing of each element and at the same time not cause fatigue in the painter. Each part of the assignment has its own separate A4 Whatman sheet.

Before getting acquainted with the key to this test, I suggest that you take a break from reading for five minutes and sketch a pencil drawing of Your Home.

Now that you have your Creation in your hands, reading the article will be much more interesting and useful.

So, IN NORMAL, a house drawn by a person (not an artist) should have AT LEAST:

One door,
- one window,
- one wall,
- one roof,
- one pipe for a rural house (if, of course, the house is a city high-rise building, then the pipe is logically inappropriate),

What are considered optional items?

Attention: fence, hedge (that is, bushes), trees, booth, garage, paths - are considered for this figure EXCESSIVE EXTRA.

What are these additional elements signaling? They point to:

A person's lack of a sense of security
- the presence of interpersonal conflicts with a keen desire to settle them, "settle".

Large house- a person's obsession only with contacts within their own family,

Small drawing (tiny house)—
- weak family ties,
- lack of "feeling at home."

Many fixes, many lines- family problems.

House-scheme (top view)
- lack of a "family", "home" atmosphere in the house,
- denial of home and family as values,
- a very serious conflict in the family.

The house is drawn at the bottom of the sheet- unsafe family environment.

Non-residential building(like a church) or fantastic houses- demonstrativeness as a character trait, a tendency to outrageous, unwillingness to share information about oneself.

Very long path- an introvert who hardly admits strangers "into his world".

The trail is very wide at the beginning and very narrow at the house. Despite the fact that the laws of perspective tell us to depict the path in this way, this detail on the psychological test (especially if it is very emphasized) suggests that the person is unusually friendly, but his friendliness is "learned", superficial and simulated.

A door without a sill (stairs) - As well as the complete absence of a door
- closeness, introversion, autism or
- inability to build competent relationships with people.

Open doors- extreme loneliness, lack of friendship and love, almost open cry for help.

Extra large doors —
- a person "does not belong to himself", he is controlled by other people,
- at the given moment in his life he is dependent on a particular person.

Doors with lock and latch —
- pedantry, scrupulousness, character of anankast,
- unwillingness to give away their secrets.

Gutter —
- suspiciousness, hypochondria,
- excessive suspicion.

WINDOW

Windows without curtains- open and very direct behavior,

Curtain windows- socially conditioned behavior, increased attention to their appearance,

Window with a window- the desire for self-control, strong-willed, restraining emotions character.

Lattice window —
- suspicion,
- fear of someone else's aggression (traumatic experience in the past),
- an indicator of lack of freedom, real dependence on people or circumstances.

Window rectangle (no crosshairs)- no friends, only formal contacts.

No windows- open manifestation of hostility to the world, psychotrauma.

Very small windows + very large (open) door- the person is “entangled in connections”, has many superficial indiscriminate contacts. (Up to inviting homeless people to the house).

Very large windows + very small (missing) door—
the position of "contemplator", observer, "writer" in combination with the nature of an uncommunicative introvert,
caution in contacts, this person is difficult for rapprochement.

Very large roof at the house- a person lives in the world of his fantasies, has little interest in reality.

The roof is drawn with pressure- a pronounced need for protection, anxiety.

Flat roof —
- problems with imagination,
- emotional coldness,
- emotional "burnout" after trauma or depression.

No pipe- conflict with a significant man,

A lot of smoke from the chimney- speaks of a strong internal tension that a person is trying to hide,

Smoke from the chimney is indicated by schematic lines- lack of warmth and love in family life.

So, as you guessed it, the house is a schematic representation of "I". Where (in general terms) windows are eyes, a hearth is happiness and warmth received from significant people (which either is or is not), a door is an opportunity (or impossibility) of contacts.

Attempts to draw an "ideal" (from the point of view of the test) house lead to a gradual improvement in the internal psychological state and, accordingly, to positive changes in real life.

However, one should not “teach” another person (especially a child) how to draw a house “correctly” - drawing a “correct” house “through I can’t” should be an internal need, a kind of “semi-magical” - conscious, act of his own life creation.

Therefore, I wish you patience and good luck with these meditative art therapy studies!

Elena Nazarenko

TEST "HOUSE-TREE-MAN"
(how to know yourself and learn to get along with people)
Proposed by J. Buck in 1948.
The purpose of the technique. Assessment of the subject's personality, the level of his development, performance and integration; obtaining data concerning the sphere of his relationship with the outside world in general and with specific people in particular.
Materials. A white sheet of paper folded in half and thus forming 4 pages measuring 15x21 cm (drawing form). The first page is intended for registering the date and recording the necessary data concerning the subject, the next three pages are reserved for drawings and are accordingly titled: House, Tree, Man; a few simple soft pencils, an eraser. The study can be carried out both in a group and individually. Preference is given to individual testing, which provides great opportunities for observation.
Instruction. "Take one of these pencils. Draw the house as well as you can. You can draw any type of house you want. You can erase it as long as you like - it will not affect your assessment. Think about the drawing as long as you need. Just try draw the house as best you can. "
As soon as the subject begins to draw, the stopwatch turns on (the subject is not informed that it will be installed, but they also do not try to hide the clock). After the house is drawn, the researcher asks the subject to draw a tree, and then a person - as well as he can. At the same time, it is stipulated that a person should be drawn in full growth. The rest of the subject is not limited in the choice of sizes, images and types of patterns.
Recording. While the subject is drawing a house, a tree, and a person, the researcher should write down:
1.the following aspects regarding time:
the time interval from the moment the investigator provided the instruction to the moment when the subject started drawing;
the duration of any pause that occurs during the drawing process (correlating it with the execution of a particular part);
the total time spent by the subject from the moment when he was given the instruction to the moment when he announced that he had completely finished the drawing (for example, a house);
2. sequence of images of details of each drawing (house, tree and person), numbering them. Deviations from the intended sequence of the depiction of parts are usually attributed to a certain value; an accurate record is required, since the omission of such deviations may affect the assessment of the drawing as a whole;
3. all comments (verbatim, if possible) spontaneously made by the subject in the process of drawing, and correlate each such comment with a sequence of details. The drawing process can cause comments that at first glance do not correspond to the depicted objects, which, nevertheless, can provide a lot of interesting information about the subject;
4. any emotion (the most insignificant) of the test subject during the test. Then you need to associate this emotional expression with the detail depicted at this moment.The drawing process often evokes strong emotions in the subject, and they should be recorded.
TEST "DRAW A MAN"
Developed by K. Makhover in 1946. based on F. Goodinaf test
The purpose of the technique. Determination of the individual characteristics of the child's personality.
The material used. Typical for drawing tests.
Instruction. "Draw the person you want." If the child refuses, we must try to convince him. Answer all clarifying questions of the child evasively, for example: "You start, and then it will be easier ..."
Order of conduct. After the drawing is completed, the researcher should ask the child if he has drawn everything, and then proceed to the final conversation, which is based on the drawing, its features and analysis of the elements, during which the researcher can clarify all the obscure points of the drawing. With the help of a conversation, thanks to the expression of the subjects of relations, feelings, experiences, the researcher can obtain unique information concerning the actual emotional, psychological state of the subject. The conversation may include questions: who is this person? Where does he live? does he have friends? what does he do? is he good or bad? who is he looking at? who is looking at him?
Recording. All questions, remarks, erasures and additions to the drawing, as well as the drawing time, are recorded in the protocol.
Interpretation. It is built on the sequential analysis of the following information:
1) who is depicted;
2) what he is doing at the moment, according to the author;
3) proportionality of the figure and features of the image of individual parts, location on the sheet;
4) decoration and painting;
5) availability of additional accessories;
6) the quality of the lines (pressure, uniformity, etc.);
7) what the child was talking about during the conversation.
All general points concerning drawing tests, as well as the interpretation material of the test "House - Tree - Man" in that part of it that relates to drawing a person, are fully applicable to this method.
The body image in the figure is sensitive to stimuli that disrupt the smooth flow of the child's emotional life. Therefore, the drawing of a human figure will symbolically reflect the problems that have arisen as a result of the child's awareness of his feelings. Thus, the drawing becomes a deep portrait of the personality. In accordance with the degree of disorder and the image of the body, in its graphic representation, it can become different from the normal and generally accepted ideas - from small deviations in details to complete destruction. Among the most common deviations are the image of a figure with scattered body parts, the absence of a person in the drawing, strikingly inappropriate details, the erasure of a newly drawn human figure, frozen robotic figures. Such cases can be observed in drawings of children with serious disorders of the nervous system.
Neurotic behavior and feelings of inferiority can be expressed in the fact that the drawing will depict a small figure, often at the bottom of the sheet, with tiny feet; or the domineering figure of one of the parents of exaggerated proportions. These qualities can also be expressed in excessive shading, in a frank depiction of the genitals, in hiding the genital region, in a confused sexual role, in emphasizing the hands or omission of hands or arms, in the depiction of dark clouds and a darkened sun.

• 
  Methodology « House - wood - human» and « Drawing human»: goal use of, procedure holding, processing and interpretations results testing.


• 
  Methodology S. Rosenzweig: goal use of, procedure holding methodology, processing and interpretations results testing. Test takes an intermediate place between dough word associations and dough thematic apperception.


• 
  Methodology « House - wood - human» and « Drawing human»: goal use of, procedure holding, processing and interpretations results testing. TEST "HOUSE-WOOD-HUMAN"(how to know yourself and learn to get along with people) Suggested by J.


• 
  Methodology R. Cattell (16 PF): goal use of, characteristic of scales, procedure holding, processing and interpretations results testing.Description methodology.


• 
  Methodology SMIL: history of creation, goal use of methodology, characteristic of scales, procedure holding, processing and interpretations results testing.


• 
  Methodology R. Cattell (16 PF): goal use of, characteristic of scales, procedure holding, processing and interpretations results testing.Description methodology.


• 
  Methodology G. Shmishek: goal use of, characteristic of scales, procedure holding, processing and interpretations results testing... According to the theory of "accented personalities" there are personality traits ...


• 
  Methodology SMIL: history of creation, goal use of methodology, characteristic of scales, procedure holding, processing and interpretations results testing.
  The main one is interpretation and conclusions.


• 
  Catharsis is an effective response. Methodology test dolls (not used here).
  "House-wood-human"," Non-existent animal "," Kinetic drawing families".
  Interpretation Problem interpretations results.


• 
  Everything methods have their aim disclosure of patterns of psyche and behavior human
  From others methods research tests differ in that they imply a clear procedure collection and processing primary data, as well as the originality of their subsequent interpretations.

Similar pages found: 10

This projective technique of personality research was proposed by J. Buck in 1948. The test is intended for both adults and children, possibly a group examination.

The essence of the technique is as follows. The subject is invited to draw a house, a tree and a person. Then a survey is carried out according to the developed plan.

R. Berne, when using the HDC test, asks to depict a tree, a house and a person in one drawing, in one scene that is taking place. The interaction between a house, a tree and a person is believed to be a visual metaphor. If you bring the whole drawing into action, then it is quite possible to notice what is really happening in our life.

A special way of interpretation can be the order in which the drawing of a house, a tree and a person is performed. 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 in the first place is safety, success, or, conversely, neglect of these concepts.

Interpretation of signs in the test "House. Wood. Human"

"House"

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

A home away is a feeling of rejection (rejection).

Home close - 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 directed against the actual owner of the house or rebellion against what the subject considers to be artificial and cultural standards.

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

The steps leading to a blank wall (without doors) are a reflection of a conflict situation that harms the correct assessment of reality. The inaccessibility of the subject (although he himself may desire free heartfelt communication).

Walls

The rear wall, located in an unusual way - conscious attempts at self-control, adaptation to conventions, but, at the same time, there are strong hostile tendencies.

The contour of the back wall is significantly brighter (thicker) compared to other details - the subject seeks to maintain (not lose) contact with reality.

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

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

A wall with an accented horizontal dimension - poor orientation in time (dominance of the past or future). Subject may be sensitive to environmental pressure.

Wall: the lateral contour is too thin and inadequate - a presentiment (threat) of disaster.

Wall: The contours of the line are too accentuated - a conscious desire to maintain control.

Wall: one numbered perspective - only one side is shown. If it is a sidewall, 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.

Wall with an accented vertical dimension - the subject seeks pleasure primarily in fantasies and has less contact with reality than is desirable.

Doors

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

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

The doors are open - the first sign of frankness, attainability.

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 their social sociability.

The doors are very small - unwillingness to let in your "I". Feelings of inadequacy, inadequacy, and indecision in social situations.

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

The smoke is very thick - significant internal stress (intensity according to the density of the smoke).

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

Window

The first floor is drawn at the end - aversion to interpersonal relationships. The tendency towards isolation from reality.

The windows are strongly 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 their feelings.

The windows are closed (curtained). Concern about interaction with the environment (if relevant to the subject).

Windows without glass - hostility, alienation. Lack of windows on the ground floor - hostility, alienation.

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

Roof

The roof is a realm of fantasy. The roof and chimney, blown off by the wind, symbolically express the subject's feelings that they are commanded, regardless of their own willpower.

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

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

Roof, thick edge contour - overly preoccupation with controlling (curbing) fantasy.

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

The eaves of the roof, accentuating it with a bright outline or extending beyond the walls is an intensely protective (usually suspicious) installation.

Room

Associations may arise in connection with:

1) the person living in the room,

2) interpersonal relationships in the room,

3) the purpose of this room (real or attributed to it).

Associations can have positive or negative emotional connotations.

A room that does not fit on the sheet - the subject's unwillingness to portray certain rooms due to unpleasant associations with them or with their tenant.

Subject chooses closest room - suspiciousness.

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

Pipe

Lack of Trumpet - Subject feels a lack of psychological warmth at home.

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

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

Downpipes are enhanced protection and are usually suspicious.

Water pipes (or gutters from the roof) are reinforced protective installations (and usually increased suspiciousness).

Supplements

The transparent, "glass" box symbolizes the experience of exposing yourself to everyone. He is accompanied by a desire to demonstrate himself, but limited only by visual contact.

Trees often represent different faces. If they seem to be "hiding" the house, there may be a strong need for parental dominance dependency.

Bushes sometimes symbolize people. If they closely surround the home, there may be a strong desire to enclose itself with protective barriers.

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

The path, well proportioned, easily drawn, shows that the individual in contact with others exhibits tact and self-control.

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

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

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

Color Color; its common uses are: green for roofs; brown - for walls;

yellow, if used only to depict light inside the house, thereby displaying the night or its approach, expresses the feelings of the subject, namely:

1) the environment is hostile to him,

2) his actions must be hidden from prying eyes.

Number of Colors Used: A well-adapted, shy, and emotionally uncoupled subject typically uses no less than two and no more than five colors. A subject who paints a house with seven or eight colors is very labile at best. Anyone using just one color is afraid of emotional excitement.

Color selection

The longer, the more insecure, and the harder the subject selects colors, the more likely they are to have personality disorders.

Black color - shyness, fearfulness.

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

Orange is a combination of sensitivity and hostility.

The color magenta is a strong need for power. Red is the most sensitive. Demand for heat from the environment.

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

Shading outside the drawing is a tendency towards an impulsive response to additional stimulation. The color is yellow - strong signs of hostility.

General form

Placing a drawing on the edge of the sheet is a generalized feeling of insecurity, danger. Often associated with a specific time value:

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

b) associated with the purpose of the room or with its permanent tenant,

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

Perspective

The perspective "above the subject" (looking from the bottom up) - the feeling that the subject is rejected, removed, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable.

The perspective, the drawing is depicted in the distance - the desire to move away from the conventional society. Feelings of isolation, rejection. A clear tendency to separate from the environment. The desire to reject, not recognize this drawing or what it symbolizes. Perspective, signs of "loss of perspective" (an individual correctly draws one end of the house, but in the other draws a vertical line of the roof and walls - he does not know how to depict depth) - signals the beginning of the difficulties of integration, fear of the future (if the vertical side line is on the right) or desire forget the past (line to the left).

The perspective is triple (three-dimensional, the subject draws at least four separate walls, on which even two are not in the same plane) - excessive concern about the opinion of others about himself. The desire to keep in mind (to recognize) all connections, even insignificant, all features.

Placing a picture

Placing the drawing over the center of the sheet - the more the drawing is above the center, the more likely it is that:

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

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

3) the subject is inclined to stay aloof.

Placing the drawing exactly in the center of the sheet is unprotected and rigid (straightness). The need for nurturing control to maintain mental balance.

Placement of the picture below the center of the sheet - the lower the picture is in relation to the center of the sheet, the more it looks like:

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

2) the subject feels limited, constrained by reality.

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

Placing a drawing in the upper left corner of the sheet is a tendency to avoid new experiences. Desire to go back in time or delve into fantasies.

Placing the drawing on the right half of the sheet - the subject is inclined to seek pleasure in the intellectual spheres. Controlled behavior. Emphasizing the future.

The drawing goes beyond the left edge of the sheet - fixation on the past and fear of the future. Excessive preoccupation with free frank emotional experiences.

Going beyond the right edge of the sheet is a desire to "run away" into the future in order to get rid of the past. Fear of open free experiences. The desire to maintain tight control over the situation.

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

The contours are very straight - rigidity.

Outline outline, used constantly - at best, pettiness, striving for accuracy, at worst - an indication of the inability to a clear position.

scheme for the PROCESSING OF THE PICTURE IN THE TEST "HOUSE"

No. Selected feature

1. Schematic representation

2. Detailed image

3. Metaphorical image

4. City house

5. Rural house

6. Borrowing from a literary or fairy tale plot

7. The presence of windows and their number

8. Presence of doors

9. Chimney with smoke

10. Shutters on the windows

11. Window size

12. Overall size of the house

13. The presence of a front garden

14. The presence of people near the house and in the house

15. Presence of a porch

16. The presence of curtains on the windows

17. Presence of plants (quantity)

18. Number of animals

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

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

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

22. The door is open

23. The door is closed

"Human"

Head

Sphere of intelligence (control). Sphere of imagination. Big head - unconscious emphasis on beliefs about the importance of thinking in human activity.

The head is small - the experience of intellectual inadequacy.

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

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

An organ symbolizing the connection between the sphere of control (head) and the sphere of drives (body). Thus, this is their coordination feature.

The neck is underlined - 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 - concessions to one's weaknesses and desires, an expression of an unsuppressed impulse.

Shoulders, their sizes

A sign of physical strength or need for power. Shoulders oversized — Feeling too strong or overly concerned about strength and power.

Small shoulders - a feeling of inferiority, insignificance. Shoulders are too angular - a sign of excessive caution and protection.

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

Broad shoulders - strong bodily impulses.

Torso

Symbolizes masculinity.

The body is angular or square - masculinity.

The body is too large - the presence of unsatisfied, acutely perceived needs by the subject.

The body is abnormally small - a feeling of humiliation, of little value.

Face

Facial features include eyes, ears, mouth, nose. This is a sensory contact with reality.

The face is emphasized - a strong concern with relationships with others, with their appearance.

The chin is too stressed - the need to dominate.

The chin is too large - compensation for perceived weakness and indecision.

Ears are too accentuated - auditory hallucinations are possible. Occur among those who are particularly sensitive to criticism.

Ears are small - the desire not to accept any criticism, to drown it out.

Eyes closed or hidden under the brim of the hat - a strong tendency to avoid unpleasant visual influences.

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

Full lips on a man's face are feminine. The clown's mouth is forced affability, inadequate feelings.

The mouth is sunken - passive significance. The nose is wide, prominent, with a hump - contemptuous attitudes, a tendency to think with ironic social stereotypes.

Nostrils are primitive aggression. The teeth are clearly drawn - aggressive. The face is unclear, dull - fearfulness, shyness. Facial expression obsequious - insecurity. A face that looks like a mask - caution, secrecy, feelings of depersonalization and alienation are possible.

Eyebrows are sparse, short ~ - contempt, sophistication.

A sign of masculinity (courage, strength, maturity and the pursuit of it).

Hair heavily shaded - anxiety associated with thinking or imagination.

Hair is not shaded, not painted over, frames the head - the subject is ruled by hostile feelings.

Limbs

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

Broad arms (arm span) - intense drive for action.

The arms are wider at the palm or at the shoulder - insufficient control of actions and impulsivity.

Hands, depicted not as one with the body, but separately, stretched out to the sides - the subject sometimes catches himself in actions or deeds that are out of his control.

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

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

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

Arms that are too long are overly ambitious aspirations.

The arms are relaxed and flexible - good adaptability in interpersonal relationships.

Hands tense and pressed to the body - sluggishness, rigidity.

Hands are very short - lack of ambition along with a feeling of inadequacy.

Hands that are too large - a strong need for better adaptability in social relationships with a sense of inadequacy and a tendency to impulsive behavior.

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

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

Hands are shown close to the body - tension. A man has large arms and legs - rudeness, callousness. Tapering arms and legs - femininity. Long arms - a desire to achieve something, to take possession of something.

Hands are long and weak - dependence, indecision, the need for custody.

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

Hands extended at the sides - difficulties in social contacts, fear of aggressive impulses.

Strong hands - aggressiveness, energy. Hands are thin, weak - a feeling of inadequacy 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 vaguely outlined - lack of self-confidence in activities and social relationships.

Large arms - compensation for perceived weakness and guilt. Hands are absent in the female figure. - the mother's figure is perceived as unloving, rejecting, unsupportive.

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

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

Fingers without palms - rudeness, callousness, aggression.

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

Fingers are one-dimensional, circled in a loop - a conscious effort against aggressive feelings.

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

Legs are too short - a feeling of physical or psychological awkwardness.

The drawing started with the feet and legs - fearfulness. Feet are not depicted - isolation, shyness. Legs wide apart - outright disregard (disobedience, ignorance, or insecurity).

Legs of unequal sizes - ambivalence in the pursuit of independence.

There are no legs - shyness, isolation. Legs are accented - rudeness, callousness. Feet - a sign of mobility (physiological or psychological) in interpersonal relationships.

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

Feet disproportionately small - stiffness, dependence.

Pose

The face is depicted so that the back of the head is visible - a tendency towards isolation.

Head in profile, body in full face - anxiety caused by the social environment and the need for communication.

A person sitting on the edge of a chair - a strong desire to find a way out of the situation, fear, loneliness, suspicion.

The person depicted as running is a desire to run away, to hide from someone.

A person with visible imbalance in relation to the right and left sides - lack of personal balance.

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

A person in blind flight - panic fears are possible.

A person in a smooth light stride - good adaptability.

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

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

Unbalanced standing figure - tension.

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

A robot instead of a male figure - depersonalization, a sense of external controlling forces.

A stick figure - can mean evasion and negativism.

The figure of Baba Yaga is open hostility towards women.

A clown, a caricature - a feeling of inferiority inherent in adolescents. Hostility, self-contempt.

Background. Environment

Clouds - fearful anxiety, apprehension, depression. Fence for support, contour of the ground - insecurity. The figure of a man in the wind - the need for love, affection, caring warmth.

The base line (ground) is insecurity. It represents the necessary reference point (support) for constructing the integrity of the drawing, gives stability. The meaning of this line sometimes depends on the quality given to it by the subject, for example, "a boy is skating on thin ice." The base is often painted under a house or a tree, less often under a person.

The weapon is aggressiveness.

Multidimensional criteria

Line breaks, blurred details, gaps, accentuation, shading are the area of ​​conflict.

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

Circuit. Pressure. Hatching. Location Few curved lines, many sharp corners - aggressive, poor adaptation.

Rounded (rounded) lines - femininity. The combination of confident, bright and light contours - rudeness, callousness.

The contour is dim, indistinct - fearfulness, timidity. Energetic, confident strokes - persistence, safety.

Lines of unequal brightness - voltage. Thin extended lines - tension. The non-tearing, accentuated contour that framing the figure is insulation.

Outline outline - anxiety, timidity. Breaking a contour is an area of ​​conflict. The line is underlined - anxiety, insecurity. Sphere of conflicts. Regression (especially in relation to the underlined detail).

Jagged, jagged lines - insolence, hostility. Confident firm lines - ambition, zeal.

The bright line is rudeness. Strong pressure - energy, perseverance. Great tension.

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

Lines with pressure - aggressiveness, persistence.

Uneven, uneven pressure - impulsivity, instability, anxiety, insecurity.

Changeable pressure - emotional instability, labile moods.

Line length

If the patient is excitable, the strokes are shortened, if not, they are lengthened.

Direct strokes - stubbornness, perseverance, tenacity. Short strokes - impulsive behavior. Rhythmic shading - sensitivity, sympathy, relaxedness.

Short, sketchy strokes - anxiety, uncertainty. The strokes are angular, constrained - tension, isolation.

Horizontal strokes - emphasizing imagination, femininity, weakness.

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

Vertical strokes - stubbornness, persistence, determination, hyperactivity.

Hatching from right to left - introversion, isolation. Shading from left to right - motivation. Shading from oneself - aggression, extraversion. Erasure - anxiety, apprehension. Frequent erasures - indecision, dissatisfaction with oneself. Redrawing erasure (if the redrawing is more perfect) is a good sign.

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

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

Large drawing - expansiveness, a tendency to vanity, arrogance.

Small figures - anxiety, emotional dependence, feelings of discomfort and stiffness.

A very small figure with a thin outline - stiffness, a feeling of one's own inferiority and insignificance.

Lack of symmetry is insecurity.

Drawing at the very edge of the sheet - dependence, self-doubt.

A full-page drawing is a compensatory self-exaltation in the imagination.

Details

What is important here is their knowledge, the ability to operate with them and adapt to specific practical conditions of life. The researcher should notice the degree of the subject's interest in such things, the degree of realism with which he perceives them; the relative importance that he attaches to them; a way of connecting these parts together.

The details are essential - the absence of significant details in the drawing of a subject who, as you know, now or in the recent past was characterized by an average or higher intelligence, often shows intellectual degradation or serious emotional disturbance.

Excessive detail - "the inevitability of corporeality" (inability to limit oneself) indicates a forced need to improve the whole situation, to excessive concern for the environment. The nature of the details (significant, insignificant or strange) can serve to more accurately determine the specificity of sensitivity.

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

Insufficient detail - tendencies towards isolation. Particularly scrupulous detailing - stiffness, pedantry.

Task orientation

The ability to critically evaluate a drawing when asked to criticize it is a criterion for unlocked contact with reality.

Accepting the assignment with minimal protest is a good start, followed by fatigue and drawing interruptions.

Drawing apologies - lack of confidence.

As you draw, the pace and productivity decrease - rapid exhaustion.

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

The left half of the figure is underlined - identification with the female gender.

He paints persistently, despite the difficulties - a good forecast, energy.

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

"Wood"

Interpretation according to K. Koch proceeds from the provisions of K. Jung (a tree is a symbol of a standing person). Roots are collective, unconscious. Trunk - impulses, instincts, primitive stages. Branches - passivity or opposition to life.

The interpretation of a tree design always contains a permanent core (roots, trunk, branches) and decorative elements (foliage, fruit, landscape). As already noted, the interpretation of K. Koch was aimed mainly at identifying pathological signs and features of mental development. In our opinion, there are a number of contradictions in the interpretation, as well as 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 “the gift of observation”, “strong imagination”, “frequent inventor” or: “insufficient concentration” - what? What is the reality behind this concept? Remains unknown. In addition, the interpretation of signs contains an excessive use of everyday definitions. For example: "emptiness", "bombast", "pompous", "flat", "vulgar", "shallow", "narrow-minded", "pretentiousness", "pretense", "stiffness", "pretentiousness", "phony" and right there - "the gift of constructiveness", "ability to systematics", "technical giftedness"; or a combination of "self-discipline", "self-control", "good manners" - "pomp", "arrogance", "indifference", "indifference".

We would like to draw your 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 - enthusiasm, enthusiasm.

The earth sinks to the right edge of the leaf - a breakdown, lack of aspirations.

Roots

The roots are smaller than the trunk - the craving for the hidden, closed. The roots are equal to the trunk - a stronger curiosity already presenting a problem.

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

The roots are marked with a dash - childish behavior in relation to what is kept secret.

Roots in the form of two lines - the ability to discriminate and prudence in assessing the real; the different shape of these roots may be associated with a desire to live, suppress or express some tendencies in an unfamiliar circle or close environment.

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

The location on the sheet is ambiguous - the attitude to the past, to what the drawing depicts, i.e. to your deed. Double desire: independence and protection within the environment. The central position is the desire to find agreement, balance with others. Indicates the need for strict and rigorous systematization based on habits.

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

Foliage shape

Round crown - exaltation, emotionality. Circles in foliage - seeking calming and rewarding sensations, feelings of abandonment and frustration.

The branches are down - loss of courage, refusal of effort. Branches up - enthusiasm, impulse, desire for power. Branches in different directions - the search for self-affirmation, contacts, self-spraying. Fussiness, sensitivity to the environment, lack of opposition to it.

Mesh foliage, more or less dense - more or less dexterity in avoiding problem situations.

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

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

Closed foliage - protecting your inner world in a childish way.

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

Branches come out of one section on the trunk - a child's search for protection, the norm for a child of seven years old.

Branches are drawn in one line - escape from the troubles of reality, its transformation and embellishment.

Thick branches - good discernment of reality. Loop leaves - prefers to use charm. Palm - the desire to change places. Mesh foliage - avoiding discomfort. Foliage as a pattern - femininity, friendliness, charm. Weeping willow - lack of energy, striving for firm support and the search for positive contacts; returning to the past and childhood experiences; difficulty making decisions.

Blackening, shading - tension, anxiety.

Trunk

Shaded trunk - internal anxiety, suspicion, fear of being abandoned; latent aggressiveness.

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

Trunk from one line - refusal to really look at things.

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

Foliage in thin lines - fine sensitivity, suggestibility.

The trunk with lines with pressure - decisiveness, activity, productivity.

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

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

Vermicelli - a tendency to stealth for the sake of abuse, unforeseen attacks, latent 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 foliage - high intelligence, normal development, the desire to preserve inner peace.

The trunk is torn off the ground - lack of contact with the outside world; everyday life and spiritual life are little connected.

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

The trunk expands downwards - searching for a secure position in its 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 your "I" against the restless world.

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

The lower half of the leaf is less dependent and timid.

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

Sheet height (the page is divided into eight parts):

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

1/4 - the ability to comprehend your experience and slow down your actions,

3/8 - good control and reflection,

1/2 - interiorization, hopes, compensatory dreams,

5/8 - intense spiritual life,

6/8 - the height of foliage is in direct proportion to intellectual development and spiritual interests,

7/8 - foliage almost full page - flight into dreams.

Image manner

Sharp peak - protects against danger, real or imaginary, perceived as a personal attack; desire to act on others, attack or defend, difficulty in contacts; wants to compensate for the feeling of inferiority, the desire for power; seeking a safe haven because of a sense of abandonment for a firm position, the need for tenderness.

Multiple trees (several trees on one leaf) - 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 - interpreted depending on specific objects.

Landscape means sentimentality.

Turning a leaf - independence, a sign of intelligence, prudence.

Earth

The earth is depicted by one feature - focus on the goal, the adoption of a certain order.

The earth is depicted in several different traits - acting according to its own rules, the need for an ideal. Several joint lines depicting the ground and touching the edge of the sheet — spontaneous contact, sudden withdrawal, impulsiveness, capriciousness.

The projective technique "House - Tree - Man" is a universal psychological test widely used in art therapy. The images underlying the assignment are publicly available, and their interpretation is a source of important information to shed light on the personality portrait.
Features of the technique
The psychological test "House - tree - person" is carried out according to the scheme of standard projective methods. On a blank sheet of paper, the client is asked to depict three separate objects in random order: a house, a tree and a person. The drawing is created with pencils (usually no more than 6 colors are taken), the use of an eraser is allowed. There is no time limit for the task. After the drawing is ready, they ask clarifying questions that make it possible to clarify points important for further interpretation.
Ways of interpreting the test "House - tree - person"
In the course of art therapy, it is important not only to analyze the three drawn objects, but also to pay attention to a number of key points:
the sequence of drawing images, since this sequence indicates the arrangement of personal priorities;
the nature of the pressure on the pencil;
shading intensity;
the presence of pauses for 20-30 seconds. in front of the image of an object, perhaps, it speaks of a conflicting attitude towards the depicted detail.
The location of the picture is an important formal feature when decoding the "House-tree-man" test. It can be located in several zones of the sheet:
in the center - an adequate perception of oneself and one's surroundings;
shift to the left - isolation, gravitation towards the past, strong dependence on parents;
shift to the right - openness, consciousness, striving for the future;
at the top - purposefulness, overestimation of self-esteem;
below - decreased activity, poor self-esteem.
the drawing did not fit on the sheet - impulsivity, poor self-control.
Interpreting at home. It is customary to subject each of the structural elements to a psychological interpretation. The walls symbolize the boundaries of the personality. Windows speak of a person's ability to make contacts. Doors reflect the degree of personal openness. The roof often symbolizes the sphere of children's fantasies and desires. When interpreting the elements of the house, one should pay attention to their size, typical / non-typical design, the lines with which they are drawn, etc.
Interpretation of the tree. The interpretation of this image usually begins with its variety:
deciduous - adequacy, good social adaptation;
conifers - dedication, restraint;
tropical - adventurism, daydreaming;
fictional trees - creativity, low social adaptation.
Crohn is a symbol of the psychological protection of the individual. The bark is the border between the inner world of a person and society. Leaves testify to the communicative qualities of a person, his ability to communicate with others and the ability to establish contacts.
Interpretation of a person. This image is a reflection of the author's ideas about himself. When interpreting this image, first of all, you need to pay attention to the nature of the drawing:
schematic - lack of confidence in one's own strengths, problems in interacting with others;
caricature - seeking protection, lack of self-expression;
realistic portrayal - adequacy, correct socialization in society.
The head is the symbol of intelligence and the rational principle; it can be large or small, schematic or detailed. The reflection of greatness (in men) and beauty (in women) is the image of the hair. Their length, quantity, and the nature of the hairstyle are taken into account. The face and the thoroughness of its drawing reflect the degree of openness to the outside world. The torso is evidence of interest / disinterest in material needs. Hands - symbolism of creative activity, activity, or, conversely, passivity (short or absent hands). Legs are always vitality, self-confidence.