Personality Research Methodology "House-tree-man"

2024 Author: Harry Day | [email protected]. Last modified: 2023-12-17 15:43

The personality research method “House-tree-man” is intended for both adults and children; group examination is also possible. The technique proposed by J. Buck in 1948 is that the subject must draw a house, a tree and a person. The author justifies the choice of objects for drawing by the fact that they are familiar to each subject, are most convenient for drawing and, finally, stimulate freer verbal expressions than other objects. After the end of the drawing, the respondent is interviewed according to the developed plan. According to J. Buck, each drawing is a kind of self-portrait, the details of which are of personal importance. The picture can be used to judge the affective environment of the individual, its needs, the level of psychosexual development, etc.

In addition to using "House-tree-man" as a projective technique, the author demonstrates the ability of the test to determine the level of intellectual development. This is consistent with the long tradition of drawing IQ diagnostics.

R. Berne, when using the personality research method “House-tree-man”, 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.

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

Before starting to use the catalog, it is advisable to read all of its material. This will save time and help you develop the right orientation in your search for positions. The catalog consists of a section common to all three figures and sections intended to be interpreted separately. For example, if the baseline is similar in all three figures, the interpretation is most likely to be found in the general section. But sometimes the same position can be found in two sections. Then, for a more perfect interpretation, both options must be taken into account.

Instructions: on separate sheets, draw in succession: a) a house, b) a tree, d) a person.

CATALOG

Clouds are a general alarm associated with a painted situation.

Color - as long as it is used realistically and conventionally, it has no pathomorphic or pathological meaning. With a decrease in this feature, color becomes more and more important. Specific light interpretations must be done with great care.

Color selection - the longer, the more uncertain, and the harder the client chooses the colors, the more likely it is to have personality impairments.

The color is yellow - strong signs of hostility. The conventional use of this color is mainly limited to images inside the home. In this case, denoting night or its approaching, yellow expresses the experience of hostility to the environment and the need to hide one's actions from others.

Yellow throughout the drawing is a very strong sense of hostility in all social connections and relationships.

The color orange is a pathomorphic combination of sensitivity and hostility (if the color is used non-conventionally).

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

The color magenta is a strong need for power, never applied conventionally to a tree or a house.

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

The color blue is a definite depressive mood background. The need for self-control and its training is caught.

The color black is a depressive background of the mood. Shyness, fearfulness. Strong oppositional tendencies with potential aggressiveness. Aggressiveness can be directed and not directed outward.

The color is black and blue, combined - a schizoaffective type of reaction.

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

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

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

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

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

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.

Details are essential - the absence of significant details in the drawing of a subject who, as is known, 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 direct 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 the sensitivity.

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

Organization of details - if organizational difficulties are found in each drawing, a stronger emotional or organic disorder (or both) can be suspected.

If the complexity of the organization is found in only one figure, it may very well be that the violation of the functional order is associated with the situation depicted in the figure.

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

In the case of a more successful organization of details in colored drawings than in monochromatic ones, the forecast is more favorable.

Erasing or redrawing - if the redrawing is more perfect - this is a good sign.

Erasure with subsequent damage (deterioration) of the picture indicates:

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

2) the presence of a malignant organic factor;

3) the presence of both options.

Erasure without an attempt to redraw (correct) indicate that the subject has an internal conflict with the part that has been erased, or with what it symbolizes.

Visible fatigue is a depressed mood with the possible accompaniment of a factor reducing performance.

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

Specially drawn, "fictional" land contours are less significant than spontaneously drawn.

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

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

The contour of the earth descending to the right downwards - the expectation of an unclear and dangerous future, anxiety (the intensity of anxiety shows the steepness of the slope).

The contour of the earth rising up to the right is the presence of forced efforts and struggle in the future (the intensity depends on the steepness of the rise).

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

A curved outline is usually a good sign, but it can also mean aversion to restrictions and conventions if it is strong.

The contour, vaguely outlined in individual details, is the reluctance of the subject to expose this detail because of its relevance or symbolic significance.

The bold outline as a whole is a generalized feeling of inadequacy along with indecision, hesitation, and fear of failure. If the contour from “house” to “person” becomes thinner and thinner, it is generalized anxiety (or depression).

The contour is bold only on the sides - the subject seeks to maintain personal balance. This striving is perceived as unpleasant and is accompanied by physical stress.

The contour is thick in some details - fixation on the given object (details). Latent or explicit hostility to the object thus drawn or to what it symbolizes, accompanied by anxiety.

The contour is thick in all drawings - organic disease can be suspected.

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

The contours are steep and do not connect - a presentiment of an impending catastrophe.

The contours are very straight - frigidity.

Outline outline, used constantly - at best, pettiness, striving for accuracy. At worst, a pathogenic sign indicating an inability to take a clear position.

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

Drawings are petty, scrupulous - obsessive-compulsive tendencies.

Against the background of the mountain - a protective attitude and a desire for dependence (often on the mother).

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

The drawing does not fit at the bottom (goes beyond the sheet) - it is installed only by questioning the patient or by his spontaneous comments. The more part of the drawing is outside the lower limit of the sheet, the more likely it is that the subject has committed pathoform suppression in order to preserve the integrity of the personality. It can be assumed that there is a strong exponentiality.

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 expressions. Propensity for impulsive behavior.

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 upper edge of the sheet is a limitation of space with the resulting increased sensitivity. This implies strong aggressive-reactive tendencies (hidden or unconcealed).

Placing a drawing in the upper part of the sheet is a tendency to fixate on thinking and fantasies as a source of pleasure (which may or may not be received in this way).

Turning the leaf - aggressive or negativistic tendencies. Pathoform if turning is repeated; perseveration, if the leaf turns in one direction all the time.

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

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

Perspective, a profile in the opposite direction to the usual - indicates the discovery of conflicting impulses in oneself and a conscious desire to suppress or sublimate them.

Perspective, drawings absolutely in profile (this applies to a house turned sideways to the viewer, doors, a person depicted with only one arm or leg) - unwillingness to directly, directly accept the environment (for example, to look into the eyes). A certain desire to renounce, to hide your "I". The desire to communicate only in their own style.

Perspective, absolutely non-profile drawings (full face) - if all drawings are executed in full face, this characterizes the subject as direct, uncompromising, persistent. This attitude may turn out to be the formation of reactions to a deep sense of insecurity.

The perspective, the drawing is depicted in the distance - the desire to renounce, to leave the conventional society. Feelings of isolation, rejection, forgotten ™.

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

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

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

3) the subject is inclined to stay aloof.

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

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

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

2) the subject feels limited, constrained by reality.

Placing a drawing on the marginal side of the sheet is an accentuation of the past; impulsiveness; extra intensity. An excess of feminine feelings (or feminine identification) is possible.

Placement of the picture in the upper left corner of the sheet - intensity. Subject is clearly anxious and regressing (unless there is congenital mental retardation). The tendency to avoid new experiences, the desire to go into the past or delve into fantasies.

Placement of the picture on the right side of the sheet is intratensive. The subject is inclined to seek pleasure in the intellectual realms. Controlled behavior. Emphasizing the future. Possibly a surplus of masculine features or masculine identification.

Proportion

Realism and the ratio of the proportions of details in the drawing reveals the values attributed by the subject to objects, situations, people who represent their images in an actual or symbolic way.

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

Proportion, use of a minimum of detail - it is possible that a subject who is oriented in spatial-orientation relations, but uses only a minimum of detail, tends to:

1) keep away, abandon;

2) not respect normal convection values. A subject who demonstrates an incomplete understanding of these relationships and uses a minimum of details, may be mentally disabled or suffer from significant intellectual impairment (reversible or irreversible).

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

Obviously increased psychomotor skills - excessive excitement along with weakening inhibition.

Redrawing without previous erasure of the unfinished drawing is a negative reaction of the subject.

Complementing the general plan is unbridled anxiety, fear of losing control.

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

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

The sun is a symbol of an authoritarian figure. It is often perceived as a source of warmth and strength, and is likened to a father or mother.

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

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

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

The weather (what kind of weather is depicted) reflects the experiences of the subject related to the environment 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. Before instructing, it is necessary to find out the subject's attitude to the depicted weather.

The limitation of the drawing as a whole is a feeling of inadequacy or inadequacy.

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.

House

House. At home, as they are now. What the subject would like to see them. Disliked houses in the past. Good homes are in the past. The subject's view of the family or his interpretation of the family in relation to him. Self-portrait.

Home, its anthropomorphic understanding. Organics should be suspected. (Exceptions are small children and cases of congenital dementia).

The house is formidable, old, ruined. Sometimes the subject can thus express the attitude towards himself.

A home in the distance. Feelings of longing and rejection (rejection). Subject is unable to handle the situation at home. Inaccessibility. If the "painted" attitude is exactly the opposite, there may be a serious defect in assessing reality.

The house is close. Openness, availability and / or a feeling of warmth and hospitality.

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

Bedroom. This is the place of the most intimate interpersonal relationship. A graphic or verbal representation of one's own bedroom can help to determine the degree of the subject's sexual fitness, as well as reveal the subject's attitude to rest and relaxation, or the need for them.

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

Living room (living room) - social communication.

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

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

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

Lack of a pipe. Subject feels a lack of psychological warmth at home; has difficulty encountering a male symbol.

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

Trumpet, its emphasis. Focusing on male characteristics. Excessive concern for warmth.

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

The hole in the pipe is visible. Violation of the sexual role. Sexual impotence and fear of castration.

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

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

The chimney is visible through the transparent roof - poorly concealed exhibitionist tendencies. The subject feels that his phallus agitation and interest is evident.

Lots of pipes. If the style of the drawing shows that this is a significant thing for the subject, it can be assumed that he has excessive interest and anxiety associated with the phallus.

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

Water pipes (or roof gutters). Reinforced defensive installations (and usually increased suspiciousness). Possible urethral eroticism or oral preoccupation (interest in the phallus).

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

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

The number of colors used. A well-adapted, unashamed, emotionally not deprived subject uses no less than two and no more than five colors.

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

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

Details are necessary (essential). At least one door (if only one side of the house is not depicted), one window, one wall, roof, rough or other structures for smoke exit (if this is not a building in the tropics). The lack of a chimney may justify the fact that the house is painted dilapidated.

Details are not necessary (see also individual details: bushes, path, etc.). The subject feels the need to arrange his environment as fully and in detail as possible according to his own taste, thereby demonstrating a feeling of inadequacy and insecurity. The more unnecessary details, the more intense it is. Excessive preoccupation with the environment with inadequate self-care. However, the better the secondary details are organized and the closer, the more directly connected with the home, the more it looks like the subject's anxiety finds the right direction and is successfully controlled.

Superfluous details: the horizontal line separating the first floor from the second indicates extreme concreteness with possible organic matter or focusing attention on samadhi-ka. Psychosomatic illnesses may be suspected.

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

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

Doors, one or more, are front doors. The first sign of frankness, attainability. Depict direct ways of entering and exiting.

The door, the last detail to be drawn. Antipathy to interpersonal contact. The tendency to withdraw from reality.

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

Side doors, one or more. Alienation, solitude, avoidance of reality. Significant inaccessibility.

The doors are very large. Excessive dependence on others or the desire to surprise with their social sociability.

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

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

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

Doorknob, accentuating it. Excessive fixation on door function and / or restless interest in the phallus.

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

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

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

House plan (projection from above) instead of the house itself. Serious conflict at home. If the plan is well depicted, one might suspect paranoid ideas. If the plan is unsuccessful, organic matter is possible.

The support of the foundation (for example, the columns) are unusually high. Organic matter is suspected.

Movement. Most likely, pathological, at least pathomorphic. By this, the subject symbolizes the traumatic feeling of losing It. In the "home" is much less common than in the "village" or "person."

Place the drawing at the bottom of the sheet. Generalized feeling of insecurity, not security. Often associated with a specific time value:

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

b) related to the purpose of the room so placed

or with its permanent tenant;

c) indicating the specifics of experiences: the left side

on - emotional, right - intellectual.

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

Roof. Sphere of fantasy.

Roof and chimney blown off by the wind. They symbolically express the subject's feeling that they are commanded by forces independent of their own will.

Roof, bold outline, not typical of the whole picture. Fixation on fantasies as a source of pleasure, usually accompanied by anxiety.

Instead of a house - just a roof and a fence. Pathologically poor contact with reality. An indication of the possible destruction of the Ego.

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

Roof, thick edge outline. Excessive preoccupation with controlling (curbing) fantasy.

A roof that does not fit well with the lower floor. Poor personal orientation.

The roof is big. Search for pleasure in fantasy.

Roof covering the semblance of a wall. Assumption that the subject lives more in a fantasy world.

Roof cornice, accentuating it with a bright outline or extending beyond the walls. Strongly protective (usually suspicious) setting.

Room. Associations may arise in connection with:

a) the person living in the room;

b) interpersonal relationships in the room;

c) the purpose of this room (real or attributed

available).

Associations can be positive or negative (emotional). The meaning of the room to the subject should be checked based on the subject's comments, manner of drawing, and RTD.

A room that does not fit on the sheet. Subject's reluctance to portray certain rooms due to unpleasant associations with them or with their occupant.

Upper distant room. With this choice, a slight tendency towards alienation is likely. If there are more signs of alienation, the tendency towards isolation is more significant.

The room is the closest. The choice indicates suspiciousness.

The perspective "above the subject" (looking from the bottom up). Feeling that the subject is rejected, detached, not recognized at home. Or the subject feels the need for a home, which he considers inaccessible, unattainable. Inclination to limited contact with others.

Perspective "under the subject" (bird's-eye view). Denial (non-recognition) of the painted house. Failure to recognize the home worship common to many people. Inoplastic attitudes (rebellious hostility to established traditions, views). Subject feels “above” household chores, but this is often accompanied by depression.

Perspective (signs of losing perspective). Subject has correctly depicted one end of the house, but at the other draws a vertical line of the roof and walls - unable to depict depth.

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

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

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

Path, well proportioned, easy to draw. Shows that the individual in contacts with others displays tact and self-control.

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

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

Transparent walls. Compulsive attraction, the need to influence the situation (own, organize), as much as possible. A mentally handicapped subject, depicting more invisible (internal) details than visible, thereby demonstrates a feeling of inadequacy in situations that are dangerous for him. In the case of normal intelligence, a serious defect in the ability to make critical considerations and assess reality.

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

Wall with accentuated base contour. Anxiety within the framework of reality. The subject experiences difficulties when trying to force oppositional tendencies into the subconscious.

Wall: The contour lines are too accented. A conscious desire to maintain control.

The walls are not connected. Organics are suspected with a possible loss of control over primitive instincts.

Wall: One-Dimensional Perspective - Only one wall is depicted. If it is a side wall, there are serious tendencies towards alienation and opposition. If the front wall is shown, it is:

1) normal for young children;

2) in adults - an expression of a strong need to maintain a pleasant "facade" in interpersonal relationships.

Walls, 2D perspective, far too wide walls. Enhanced defensive tendencies. Schizophrenia (especially if the central wall is deaf (no doors, no windows).

Wall with accented vertical dimension. The subject seeks pleasure primarily in fantasy and has less contact with reality than is desirable.

Wall with accentuated horizontal dimension. Poor orientation in time (dominance of the past or future). Subject may be very sensitive to environmental pressure.

Wall and roof together. The boundaries of the ego. The power of the ego is shown by the style of the image.

Walls and roof, their boundaries. The boundaries of the personality, their character shows the strength and plasticity of these boundaries.

Wall: The side contour is too thin and inadequate. A premonition (threat) of catastrophe, a feeling of weakened control of the Ego.

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

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

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

Bushes sometimes symbolize people. If they closely surround the home, there may be a strong tendency to shield themselves with protective barriers.

Bushes are scattered randomly on either side of the path. Indicates minor anxiety within the framework of reality and a conscious desire to control it.

Smoke pours right and left. Pathological defect in the assessment of the environment.

Smoke is pouring to the left. A pessimistic outlook on the future.

The smoke is very thick. Significant internal stress (intensity in terms of smoke density).

Smoke in a thin trickle. Urethral eroticism. Feeling a lack of emotional warmth at home.

Steps leading to a blank wall (no doors). Reflect a conflict situation that harms the correct assessment of reality. The inaccessibility of the subject (although he himself may crave free heartfelt communication). You can suspect organic matter.

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

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

Lack of windows. Hostility, alienation.

Lack of windows on the first floor. Hostility, alienation.

Windows: not on the lower floor, but available on the upper floor. The chasm between real life and fantasy life.

Windows with curtains. Alienation, "backup" availability. If the curtains or shutters are not closed, there is a deliberately controlled interaction accompanied by anxiety.

Accentuating windows by complementing, without undue detail. A preoccupation with interaction. A partial cause of concern is fixation.

Windows: the first floor is drawn at the end. Disgust for interpersonal relationships. The tendency of alienation from reality.

The windows are heavily open. Subject behaves somewhat cheeky and straightforward. The many windows show a willingness to contact, and the absence of curtains shows the absence of a desire to hide their feelings.

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

Shuttered windows. The subject is able to subtly adapt to interpervonal relationships.

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

Window (s): glass symbolizes one vertical dividing the window. Fixation on the female genital organs can be expected.

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

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

Windows, distortion of proportions. Excessive preoccupation with the tenants of a room with disproportionate windows (or the purpose of this room (see the purpose of the rooms).

Windows are triangles. Excessive preoccupation with female genital organs if the image of the window is significant. Windows with locks. Hostility, isolation.

Wood

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

Tree: one or a group. The answers to this question are not very meaningful (unless they are too emotionally charged). If the answer is meaningful, one tree expresses a sense of isolation (or the need to communicate), and the group may have additional meaning to the experience of being dominated by others.

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

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

A tree that has died from parasites, worms, disease, or storms. The subject considers the environment (or someone from the environment) to be guilty of his difficulties.

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

A tree, after the death of which some time has passed. The relative duration of poor adjustment or helplessness (inoperability).

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

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

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

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

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

The tree is large and does not fit on a leaf. The subject is keenly aware of the relationship with the environment. Tends to seek pleasure more in activities than in imagination.

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

Tree tilted to the right. Lack of balance due to fear of openly expressing strong emotions together with an overestimation of intelligence.

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

Wood, its hardness, inconsistency of comments to the drawing. A fickle view of the symbolized world. Pathoform inattention. An inconsistent view of one's own inability to live in general.

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

Trunk. The subject's understanding of his capabilities, strength.

The trunk is wide at the base, tapering rapidly. Lack of warmth and healthy stimulation in the early experience and consequently a delay in personality maturation.

The trunk is the narrowest at the base. Strong aspiration (struggle), inappropriate to the forces of the subject, and a reflection of a possible violation of ego control.

The trunk is one-dimensional with one-dimensional branches that do not form a system. Strong organic matter is possible. Experiences of impotence, infertility, weakness of the ego, weak coherence of inadequate forces in the search for satisfaction.

The trunk is two-dimensional with one-dimensional branches. Successful early development, but later severely traumatized.

The trunk is shallow. Basic feelings of inadequacy and absurdity.

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

The trunk is large with small foliage. Unstable personal balance due to frustration arising from the inability to meet basic needs.

The trunk is soft, thin outline. Feeling of inadequacy, instability, indecision of the Ego.

Barrel with accentuated peripheral contour. A conscious desire to maintain control.

The trunk is dead. Feelings of traumatic loss of ego control.

The trunk is broken, the tip touches the ground. Expresses the subject's feeling that he was completely captured by internal or external uncontrollable forces.

The trunk is inclined first to the left, then to the right. A tendency toward regression, toward impulsive behavior with strong control and future orientation (at a later age).

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

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

The bark of the tree is depicted with rather distinct winding vertical lines. Possibility of schizoid traits in the subject.

The tree bark is easy to draw. Equilibrium in relationships.

The tree bark is depicted finely, scrupulously. Compulsiveness and strong preoccupation with the relationship with the environment.

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

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

Crown 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 the crown is in direct proportion to intellectual development and spiritual interests;

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

Sharp peak - protects against danger, real or imaginary, perceived as a personal attack; desire to act on others; attacks or defends, 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.

Branches. The degree of their flexibility, number, size and degree of their interlacing reflect the subject's view of adaptation, accessibility and ability to receive satisfaction from the environment.

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

The branches are broken off, bent and lifeless. Physical or spiritual trauma that is significant to the subject.

The branches are lifeless. Subject is not satisfied with entertainment.

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

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

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

Branches with an attempt to depict them in two dimensions, but with "unclosed" tips. The subject has little ability to control his drives.

The branches are two-dimensional, poorly organized, like fingers or sticks. Strong hostility.

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

Branches: young sprout from a lean trunk. Rejection of the old traumatic belief that there is no point in seeking satisfaction in your environment. The return of sexual strength (possibly if impotence had previously occurred).

Branches facing (or clearer) to the left. Lack of personal balance due to the tendency to immediately receive sense gratification (extra intensity).

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

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

Branch structure. Satisfaction with reality. Spheres of contacts.

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

Leaves are two-dimensional, too large for branches. Obsessive-compulsive traits. The desire to hide deep feelings of inadequacy under superficial fitness. Hypercompensatory efforts to go headlong into reality.

Roots extending into the ground, pronounced. Strong desire to preserve the existing perception of reality. Insecurity.

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

Thin roots, poor contact with the ground. Weak contact with reality.

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

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

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

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

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

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

Movement. Reflects the significant pressure of the medium. The more arbitrary, fierce, and more unpleasant the movement, the more pathogenic it is.

Perspective "under the subject". The position of "surrender without resistance." The tendency towards concreteness. The rejection of a person who for the subject symbolizes a tree.

Perspective: partly from the hill. Experiencing efforts and struggles for autonomy, independence. Often reflects the tension in pursuit of a distant, possibly unattainable goal.

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

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

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

The sun is behind the tree. Sometimes the subject may interpret the tree as someone from his environment, preventing his relationship with a person of value to him, or as a subject protecting someone from an unwanted person.

Sun: a cloud between him and the tree. Reflects a disturbing, unsatisfactory relationship between a subject and a person.

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

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

Setting sun. Feeling depressed.

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

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

Wind. Symbolizes the experience of the subject that is difficult to control.

The wind blows from the ground to the treetop. Compulsive desire to escape from reality in fantasy.

Wind blows from the tree towards the subject. Narcissistic tendencies.

The wind blows in all directions. The experience of trying, but unsuccessful, to check the reality.

Man

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

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). Particularly strong frustration with the desire to get rid of an unpleasant situation.

Human: visible irregularities in proportion to the right or left. Violations of the sexual role. Lack of personal balance.

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

A man made of sticks. It is often found in psychopaths or pleasures, to whom communication, with people is a burden.

Movement. The more unpleasant, tense, violent, involuntary movement, the more pathogenic it is.

A man in blind flight. Panic fears are possible.

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

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

The details are essential. Head, torso, two arms, two legs. Excluding cases when it is explained by the subject or when the person is depicted in profile. Also two eyes, two ears, nose, mouth.

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

Head. The drawing expresses antipathy to the head. Expresses evasion and avoidance, sometimes guilt. Seeking to establish the conditions of the subject's acceptability by others.

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

The head is large. Unconscious emphasis on the belief about the importance of thinking in human activities. Emphasizing imagination as a source of pleasure. If the head is disproportionately large in relation to the body, organics are suspected.

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

The head is turned towards the back of the head. Pathognomic detachment, aloofness, autism of a paranoid schizoid.

The face is stressed. Strong preoccupation with relationships with others, with their appearance. If the subject is trying to give the face a happy expression, he probably feels the need to keep the desired (expected) face.

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

Facial features are depicted later than his oval. The tendency to ignore receptors for external influences. Gravity to delay identification as much as possible.

Facial features are some masculine, some feminine. Sexual ambivalence.

The eyes are not drawn. Visual hallucinations are possible.

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

The eyes are closed or hidden under the brim of the hat. Strong tendency to avoid unpleasant visual influences.

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

The nose is strongly accentuated. Phallus preoccupation. Fear of castration is possible. Sexual adaptation is worse if the nose is snub-nosed in the frontal pattern or is under the eyes.

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

The mouth is too big. Oral eroticism.

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

The chin is too accentuated. The need to dominate (more in the social than in the sexual sphere).

The chin is not pronounced. Experiencing impotence (more social than sexual).

The ears are accentuated and the face is not finished. Auditory hallucinations are possible. Occasionally found in well-adjusted mentally retarded or small, normal children.

The ears are too accentuated. Auditory hallucinations are possible. Occurs among those who are particularly sensitive to criticism.

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

Hair. A sign of masculinity (courage, strength, maturity) and striving for it.

The hair is heavily shaded. Thinking or imagining anxiety.

The hair is not shaded (not painted over), it frames the head like ticks. Subject is ruled by hostile feelings.

Hair is long and not dyed. Strongly ambivalent sexual desire fantasies.

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

Mustache. Phallus substitute symbol.

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

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

The neck is skipped. The subject is under the control of his bodily instincts, which often completely enthrall him.

The neck is one-dimensional. Poor co-ordination of drives and intellectual control.

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

The torso. The location of basic needs and drives.

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

The body is long and narrow. Schizoid traits.

The body is too large. The presence of a large number of unsatisfied, acutely aware of the subject's needs.

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

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

The shoulders are shallow. Feeling of little value, worthlessness.

The shoulders are oversized. Feelings of great strength or an excessive preoccupation with strength and power.

Unequal shoulders. There is no inner balance (possibly due to sexual conflict). The smaller shoulder looks more like a woman's, the larger one looks like a man's.

The shoulders are too angular. Sign of excessive caution, protection.

The shoulders are gracefully drawn and rounded. Expression of even, pliable, fairly well balanced strength.

The breasts are very accentuated. Psychosexual deviations and maladies, immaturity. Dependence on the mother.

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

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

The waistline is strongly emphasized. Intense conflict between the expression and control of sex drives.

The thighs are very accentuated. Psychosexual deviations and fixations, immaturity. Propensity for homosexuality (especially in men).

Muscles are accentuated, little covered by clothing. Expresses bodily "narcissism" and the desire to become schizoid, deep in oneself.

Arms. Basic urge to fight. Instruments of control and changes in the environment.

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

Lack of hands. Feeling inadequate with high intelligence.

The hands are drawn last. Significant unwillingness to hasty, close, frank contacts with the environment. Sometimes the reason for this is trying to hide the feeling of inadequacy.

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

Hands in pockets. Guided evasion (dodging). The subject changes depending on the fact that he keeps his hands in his pockets. Sometimes it reflects the impulsive action of masturbation.

The arms are crossed over the chest. 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.

Hands are tense and close to the body. Clumsiness, rigidity.

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

Broad arms (sweep). Intense drive for action.

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

The arms are thin. Feelings of weakness and futility of efforts.

The arms are very short. Lack of aspiration along with a feeling of inadequacy.

The arms are relaxed and flexible. Good adaptability in interpersonal relationships.

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

The arms are too long. Overly ambitious aspirations.

The arms are too large. Strong need for better adaptation in social relationships with a sense of inadequacy and a tendency in them to impulsive behavior.

Hands like wings. Sometimes found in the drawings of schizoids.

The hands are often shaded. Feelings of guilt over some real or imagined hand action (eg, masturbation, rape).

Legs, their absence. The pathological experience of stiffness. Fear of castration.

Legs wide apart. Outright disregard (insubordination, ignorance, or insecurity).

Legs are crossed. Protection from sexual intimacy.

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

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

Legs are not the same size. Ambivalence and desire for independence.

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

The legs are too short. Feeling physically or mentally uncomfortable.

The knees are accented. Presence of homosexual tendencies.

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

Feet disproportionately long. The need for security. The need to demonstrate masculinity.

The feet are disproportionately small. Stiffness, addiction.

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

Feet: On the tips of the toes. Subtle, refined perception of reality. Strong urge to fly.

Feet facing in different directions. Strong ambivalent feelings (in drawings with above average intelligence).

The fingers are large, like nails (thorns). Hostility.

Toes are one-dimensional, looped around. Conscious efforts against aggressive feelings.

The fingers are drawn last. See hand drawn last.

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

Broken lines. Fearful anxiety, insecurity.

Unconnected lines, movement of some parts of the body. Addiction to psychosis.

The patient inadvertently automatically writes his name. Selfishness, narcissism, selfishness.

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

A tube. Concentration on the sexual sphere, strengthening the masculine principle.

The tube is in the mouth. Complicated artsy oral eroticism.

Tie. Strengthening masculinity. Sexual inferiority.

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

The tie is strongly emphasized. The phallus may be preoccupied with experiencing impotence.

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

Pocket. Affective deprivation. Dependence on the mother.

The pocket is underlined. An addicted psychopath.

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

The belt (belt) is often shaded. Intense conflict between the expression of sexual (and other) drives and their control.

Transparent details. Thought gaps, voyeurism (depending on the place of transparency).

Transparent trousers (legs are visible). Fearful anxiety over homosexuality.

Fluttering trousers. Anxiety about masturbation.

Women's ankle skirt (male patient). Mother figure.

The uniform of a cowboy or a soldier on a male figure (the patient is a male). The need for an inflated status and recognition in comparison with the subject's.

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

Weapon. Aggressiveness.

Hair dryer. Environment.

Clouds. Fearful anxiety, fear, depression. Support fence, ground contour. Insecurity.

The figure of a man in the wind. Need for love, affection, nurturing warmth.