Draw an animal and describe it. Test non-existent animal. Projective technique Draw an animal

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Test “Drawing a non-existent animal”

The purpose of the technique:when the child draws, he transfers, projects on the paper his inner world, the self-image. The psychologist can tell a lot about the mood, inclinations of the little artist, looking at his work. Of course, One test will not help to recreate an accurate psychological portrait, but it will help you to understand whether the child has problems in dealing with the outside world.

For research it is necessary:standard sheet of white and a simple pencil medium hardness. Markers and pens can not be used, soft pencils are also undesirable.

^ Instructions for child: invent and draw a non-existent animal and call it a non-existent name.

Explain to the child that the animal should be invented precisely by him, entice him with this task - to create such a creature that no one has invented before him. This should not be a character from cartoons, computer games or fairy tales that has already been seen. After the drawing is ready, ask the artist about the creature that he succeeded. We need to find out the gender, age, size, purpose of unusual organs, if they exist; ask if he has relatives and in what relations he has with them, whether he has a family, and who he is in the family, what he loves and is afraid of, what character he has.
The person being tested unconsciously identifies himself with a drawing, transfers his qualities and his role in society to the depicted creature. Sometimes children talk from the face of the animal about their problems. But this does not always carry enough information and depends on the child’s ability to analyze his inner world. For us, it is important to understand how it is adapted in the team.

^ So, what you should pay attention to.

Location on the sheet

Normally, the picture is located on the center line of the sheet or slightly higher and to the right. The location of the picture closer to the upper edge indicates a high self-esteem and level of pretensions, which, as the child feels, are not fully realized. It is important to understand that the higher the drawing is, the stronger the child’s feeling of dissatisfaction with their position in society, the need for recognition and self-affirmation. He believes that he deserves more and can be worried because he was underestimated.

The lower the picture, the lower the child’s self-esteem. Self-doubt, indecision, lack of desire for self-affirmation - this is what is characteristic of such an artist. A child remembers failures for a long time and may refuse to take action altogether if he is not sure of a positive result. He focuses on the obstacles to the satisfaction of his needs.

Shifting the picture to the right indicates a desire for self-control, extraversion. The stronger the drawing goes to the right, the stronger the "rebelliousness" in relation to something important for the drawing.
If the picture is located in the upper right corner, we can say that the child most likely claims leadership and is in conflict with someone from other applicants for this role or has opposed to the already existing "ruling". In this case, parents, teachers, and children who enjoy the full recognition and authority of the rest of the collective can be “ruling”.

Shifting the picture to the left may express social inactivity, shyness, introversion. These patterns may not work if the picture goes beyond the edge of the sheet.

We consider the layout of the picture in such detail precisely because it is now important for us to understand the position of the child in society and his assessment of his position. Sign of maladjustment - dissatisfaction with their role in the team, and this should be paid special attention. Since the location of the picture is only one of the criteria, in the process of analysis our assumptions will be refined or even changed. Therefore, we continue to consider drawing.

^ Head or substitute elements

This is the central semantic part of the figure. If it is turned to the right, then the artist has a high sense of purpose and activity, which adults sometimes take for excessive stubbornness. It is important to understand that his plans are realistic and feasible, and not to interfere, but to help the child set goals and achieve results.

Turning the head to the left characterizes the person being tested as a person inclined to thinking, fantasizing, his dreams often exist only in his imagination and are not realized in reality. Perhaps this is just a temperament, but such a situation may arise under the fear of failure, which leads to a loss of activity, so you need to pay attention to this.

The image with the head in the full-face position indicates the presence of egocentrism or lack of control in behavior.

If the head is much larger in size than the body, perhaps the child appreciates the intellectual qualities in himself and those around him.

Eyes

Large, with clearly traced iris eyes can mean that the child is tormented by constant fear.
Drawing eyelashes - an indicator of interest in the admiration of others, the universal recognition of its attractiveness.

The toothy creature is painted by children who are characterized by protective verbal aggression. Their rudeness should be perceived as a way of self-defense from the attacks of others.
Language denotes the need for speech activity, the authors of such a creature are big talkers.
An open mouth without drawing the lips and tongue, especially shaded, shaded is a sign of readiness to be frightened, such children are often suspicious and cautious.

Ears

If they are, it is a sign that the opinion and information of others about him is important to the child. The more ears, the more attention the child pays to what they think and say about him.

Additional details

Horns - protection from aggression. In combination with claws and bristles - spontaneous aggression or protective-response aggression.

^ Feathers- the desire for self-affirmation, self-justification, demonstrativeness.

Mane, wool, like hair- sensitivity.

Paws of an animal, pedestal, supportand the like should be judged by form and proportion to the whole figure.

If the supporting part is solid, then the child has rationality, a tendency to make well-considered decisions based on existing information. He has his own opinion, with which it is necessary to reckon, otherwise there will be a protest, which can be expressed both in direct and in latent form.

The image of the lightweight support part - small paws, for example, testifies to lightheadedness, impulsiveness, superficial judgment.

The method of connecting the support and the body itself speaks about the degree of control over their judgments and decisions. Accurate and careful connection - high level, careless and weak - a tendency to rash actions or uncertainty in their opinion.

It happens that a figure has parts that rise above the general outline of the drawing. These can be wings, additional limbs, tentacles, details of shell, feathers ... They can serve as decoration or be utilitarian. Ask the child what they are for. If they are needed for some kind of animal activity, most likely, the person being tested is energetic, striving for self-affirmation. Decorative pieces are painted by children seeking to attract the attention of others.

Tail -Reflects the child's self-esteem.
If it is turned to the left - we can judge the self-assessment of thoughts and decisions, to the right - actions and behavior.

The tail, raised up, means a positive self-esteem, vigor.

Downcast - dissatisfaction with oneself, self-doubt, regret about what was said and done.

Branched tails, several tails - dependence or inconsistency of self-esteem.

Two tails are turned to the sides and the animal has big ears - the child’s self-esteem strongly depends on the opinions of others.

Analyzing the contours of the figure, pay attention to the protrusions such as ribbed shell, spikes or growths and similar details. They reflect the features of the psychological protection of the child. The degree of aggressive protection is characterized by the presence of sharp protrusions and their orientation. Raised up, they say that the child is protected from people who have power over him and the ability to suppress, prohibit, restrict him in anything. It can be parents, older children, caregivers, teachers.

If the protective elements are directed downwards, this may mean that the child is afraid of being unrecognized, becoming an object of ridicule, or is experiencing that he is already in this position, afraid of losing his authority with children.

Ledges on the sides are painted by children, waiting for danger from all sides in any situation and ready for protection.

Lines

A child with increased fatigue, extreme sensitivity, sleep disturbances and similar problems associated with reduced vitality, draws weak, arachnoid lines.

But greasy, with pressure, lines, hatching are not characteristic of energetic, but alarming children. Pay attention to what parts are made with special pressure to determine what exactly can be disturbing the child. But, of course, you need to take into account that if a child learns to draw in the studio or just enjoys it himself, the hatching will be present simply as an element of the drawing.

Other details

Unusual details - for example, mechanical objects embedded in a body - can be a sign of psychopathology or simply a manifestation of particular originality, as, incidentally, an echo of excessive enthusiasm for robots and science fiction.

Animal name

The name that the child assigned to his creation, carries information about the nature of the child.

The rational content of semantic parts — the flying hare, the jogging, and the like — speaks of the rational mindset of the child.

Word formation with the book-scientific, Latin ending - reptilius - expresses the desire to emphasize the level of its development, erudition.

Surface-sound, without any comprehension, the words speak of a frivolous attitude to the environment.

The ironic-humorous ones — the bubble-game, the pelmesh — expresses the same ironic-indulgent attitude to reality.

Repetitive elements — labor, labor, couscous — may indicate infantilism.

Excessively long names can give children who are prone to fantasy, which may have a protective character as a way of avoiding reality.

Now that you have analyzed all the details, write down all of them, look at the results and put them together. A full-fledged psychological portrait, as I have already said, it is impossible to compose with the help of one test, but it is the drawing technique, as far as my experience shows, that reveals the disadaptation of a child in society.

Try to check your child, let it be a game for him, connect friends and relatives, just warn that the ability to draw in this matter is irrelevant and all testees can dream up.

^ Examples of the analysis of children's drawings

Figure number 1.

By location on the sheet (the picture is highly shifted upwards), we can conclude that the child is dissatisfied with his position in society, considers himself unrecognized, but claims to be recognized.

^ Head turned to the left - speaks of a penchant for reasoning, perhaps fear of active action, only part of the plans is realized.

Big ears- the great importance of information that he hears about himself. He attaches great importance to the opinion of others about himself.

^ Mouth with teeth- verbal aggression (snaps, defends in response to censure).

Legs- sufficient independence, control over their reasoning, conclusions.

Tail- quite a positive assessment of their actions.

The contour of the figure suggests that the child is protected from adults, and the claws on the paws indicate that he is protected from his peers. The nature of the lines indicates anxiety.

Figure number 2.

Picture of a quiet, closed girl, student of grade 5 Nadi S. Obedient, diligent in school, but she seems not to be in class.

By position on the sheet (bottom), we see that the child is unsure of himself, has low self-esteem, is depressed, is not interested in his social position, there is no tendency to self-affirmation.

Head- the tendency to activity, that is, Nadia - "a man of action", but due to lack of self-confidence, this is not manifested, but suppressed.

^ Feet- since there are practically no independent decisions, it is difficult to control them. No opinion.

Tail- self-assessment depends on the situation.

Heavy pressure- anxiety.

Source: adalin.mospsy.ru (V.N. Kostyaeva)
^

Picture test "Elephant"

There are various diagnostic methods that allow to assess the physical, moral, emotional state of a person. One of these methods is the study of a person with the help of the "Elephant." So...

Give the person a piece of paper and ask the test person to draw an elephant. As by drawing a tree, a person applies it to his life, and by drawing an elephant, he draws himself. your problems and your vision of life.

If an elephant has well-traced ears, eyes, mouth, the tip of the trunk, in a word, all that. which is connected with the senses, it means that the person who painted it is sensitive enough to life, can see it and hear it.

The sense organs, though written out, were made somewhat casually, a trunk somehow traced. And a very important detail - there are no nails on the elephant's legs. This is a sure sign that a person is not careful, is not careful, does not pay special attention to the quality of life, does not see it as small.

If the legs are drawn too carelessly, this is evidence that the person is unfounded.

The overall outline of the picture is logical, proportional. coincides with the general appearance of a real elephant. So, the painter has a sense of proportion, he knows how to take a comprehensive approach to life, he knows what harmony is.

All four legs are the same length. This means that a person is quite stable in life, he is accustomed to rely mainly on himself and feels confident and stable.

The elephant has a rounded head, in general there are many roundness in the figure itself. Roundness indicates the presence of the energies of the feminine principle - it is gentleness, kindness.

Large, raised-up tusks indicate the ability and willingness to stand up for themselves. If the tusks, though drawn, are small and not pulled up, this indicates a non-aggressiveness of the painter.

Right behind the head, where the head of an elephant goes into the body, we see a notch. If it is written out clearly, it means that when it was painted as an injury, he would like to forget a lot in life. Tail and trunk downy. In principle, this indicates a thoughtful, sad, unstable character. But if, along with this, there were many all sorts of roundness and enthusiasm in the drawing, one would assume that the author is inclined to frequent changes of mood.

The ears are drawn in a calm state, which is important for the conclusion of an even or nervous character. If an elephant's ears are raised up - it is possible that the author of the picture is constantly alarmed, waiting for life tricks and troubles.

If an elephant is painted with raised ears, raised tusks, an extended tail and a trunk lifted upwards - the person has excessive nervousness, aggressiveness. He needs to be reassured, to instill in him the idea that the world is not always a jungle and it is hardly worth being overly mobilized.

Elephants can be completely different. If you set yourself to reflect on this topic, then immerse yourself in the world of the symbols that make up the "elephant". Investigating the drawing with an applied purpose, revealing for this emotional properties of the painter, his character traits, we can see that the elephant can be gentle, can be stable in life, and can be a grumbling, quarrelsome type.

He painted an elephant painted not only himself, but in an allegorical form entrusted his problems to the paper. When you see them, you can help a person to orient in life correctly.
^

Man in the rain

Rarely popular, but interesting and informative is the Man in the Rain method. It is focused on diagnosing the power of a person's ego, his ability to overcome unfavorable situations, to resist them. It also allows for the diagnosis of personal reserves and features of protective mechanisms.

^ GENERAL PROVISIONS

The instruction in the classic version is simple: on a blank sheet of A4 paper, which is vertically oriented, the subject is invited to draw a person, and then, on another similar sheet, a person in the rain.

Comparison of two drawings allows you to determine how a person reacts to stressful, unfavorable situations, what he feels when difficulties arise.

In the process of testing it is important to observe the course of drawing and pay attention to all the statements of the subject. To obtain more reliable information, it is necessary to conduct additional interviews with the testee.

When the drawing is ready, it is important to perceive it entirely. It is necessary to “enter” the drawing and feel how the character is in the mood (joyful, exultant, dejected, etc.), whether he feels helpless or, on the contrary, feels internal resources to deal with difficulties, and perhaps calmly and adequately perceives difficulties, considering them as a common life phenomenon. Thus, it is important to track the global impression of the pattern. This is an intuitive process.

Only then can one proceed to the analysis of all specific details from the point of view of logic, relying on the main points of the interpretation guide.

INTERPRETATION

^ Exposure change

In the figure "Man in the rain" compared with the figure "Man", as a rule, significant differences are found. It is important to see how the exposure has changed. So, for example, if a person is depicted leaving, then this may be due to the presence of a tendency to avoid difficult life situations, to avoid trouble (especially if the human figure is depicted as if observed from a bird's-eye view).

In the case of a person's figure moving in the rain to the top of the sheet, one can assume the tendency of the test subject to escape from reality, loss of support under his feet, as well as the presence of protective mechanisms for fantasy type, excessive optimism, which is often not justified.

The position of the figure in profile or back indicates the desire to detach from the world, to self-defense. The image placed at the bottom of the sheet may indicate the presence of depressive tendencies, a sense of insecurity. For the rest, the interpretation should be based on the “Man” method. For example, an image that is shifted to the left may be due to the presence of impulsiveness in behavior, orientation to the past, and in some cases from dependence on the mother. The image is shifted to the right, indicates the presence of orientation to the environment and, possibly, dependence on the father.

^ Shape transformation

Increasing the size of the figure is sometimes found in adolescents who are mobilized by troubles, make them stronger and more confident. Shrinking of the figure takes place when the subject needs protection and protection, seeks to transfer responsibility for his own life to others. The guys who paint small figures are usually shy of expressing their feelings and tend to be restrained and somewhat inhibited when interacting with people. They are prone to depression as a result of stress. The image of a person of the opposite sex may indicate a certain type of response in a difficult situation, the "inclusion" of behavioral programs borrowed from specific people from the immediate environment (moms, grandmothers). The change of age indicates a person's self-perception in a situation of life turmoil.

If in the figure “Man in the rain”, when a figure is depicted, any parts of the body (legs, hands, ears, eyes) are omitted, this indicates the specificity of the defense mechanisms and the particular manifestations of the Ego reactions.

The function of the clothes is “formation of protection from the elements” The abundance of clothing indicates the need for additional protection. Lack of clothing is associated with ignoring certain behavioral stereotypes, impulsive response.

^ Attributes of rain.

Rain is a hindrance, an undesirable effect that causes a person to close, to hide. The nature of his image is related to how a person perceives a difficult situation: rare drops - as temporary, surmountable; heavy, shaded drops or lines - heavy, permanent.

It is necessary to determine where the rain "comes" (to the right or left of the person) and which part of the figure is affected to a greater extent. The interpretation is carried out in accordance with the attributed values ​​of the right and left side of the sheet or the figure of a person. Clouds are a symbol of waiting for trouble. It is important to pay attention to the number of clouds, clouds, their density, size, location. In a depressed state depicted heavy thunderclouds, occupying the whole sky. Puddles, dirt symbolically reflect the consequences of an alarming situation, those experiences that remain after the "rain". Attention should be paid to the manner in which the pools are represented (shape, depth, splash). It is important to note how the puddles are located relative to the person’s figure (whether they are in front of or behind the figure, surround the person from all sides or he stands in the puddle).

^ Additional details

All additional details (houses, trees, benches, cars) or objects that a person holds in their hands (handbag, flowers, books) are considered as a reflection of the need for additional external support, support, in an effort to avoid solving problems by switching and replacing activities.

A more complete decoding of the details is based on the symbolic meaning of the presented images. For example, lightning can symbolize the beginning of a new cycle in development and dramatic changes in a person’s life. The rainbow, often arising after a thunderstorm, foreshadows the appearance of the sun, symbolizes the dream of an unattainable pursuit of perfection.

The umbrella is a symbolic image of mental protection from unpleasant external influences. From the point of view of the interpretation of images, an umbrella can be viewed as a display of communication with mother and father, which are symbolically represented in the image of an umbrella: the dome is the mother principle, and the pen is the father. The umbrella may or may not protect from the weather, limit the field of view of the character, and may be absent.

For example, a huge umbrella-mushroom can indicate a strong dependence on the mother, which solves all difficult situations for a person. The size and location of the umbrella in relation to the figure of a person indicate the intensity of the mechanisms of mental defense.

^ Distortion and skip details

The absence of significant details may indicate the area of ​​conflict and be the result of repression as a protective mechanism of the psyche. For example, the absence of an umbrella in the figure may indicate a denial of support from parents in a difficult situation.

^ Color in pictures

Drawings can be done in pencil. Nevertheless, many, including me, prefer to use colored pencils. It should be remembered that an accurate interpretation of the color solution cannot be made if the subject does not have the entire set of colored pencils.

Colors can symbolize a person’s specific feelings, mood, and attitudes. They may also reflect a spectrum of different reactions or areas of conflict.

A well-adapted and emotionally deprived child usually uses from two to five colors. Seven or eight colors indicate high lability. The use of one color indicates a possible fear of emotional arousal.
^

Test “Drawing a man”

The test "Figure of a Man" was developed by K. Makhover in 1946 on the basis of the test F. Goudinaf in order to determine the individual characteristics of a person.

Test procedure: a child is given a simple pencil of medium softness and a standard blank sheet of A4 paper (21 x 29 cm) and is asked to create a picture: "Draw, please, the person you want."
Your request may raise a lot of questions or rejection. If the child refuses, you must try to convince him. All kinds of questions, which, as a rule, are of a clarifying nature (“And what kind of person?”), Should be answered evasively, for example: “Anyone”, “Draw what you want”. For any expression of doubt, you can say: "You start, and then it will be easier ...". In response to your request, the child does not necessarily create a full-fledged drawing of a person. He can draw a person in part, something like a bust or in the form of a caricature, a cartoon hero, an abstract image.
In principle, any drawing can provide important information about the child, however, if the drawing does not meet the requirements, the child is asked to take another piece of paper and draw the person again, now to his full height, completely: with the head, torso, arms and legs. The instruction is repeated until a satisfactory figure of the human figure is obtained. All questions and remarks of the child in the process of drawing, the features of his behavior, as well as such manipulations as erasing the elements of the drawing and the addition, you should fix. The same goes for drawing time.

Observations on the child, made in the process of working on a picture, will give you important information about its features. How did he react to the task? Did he express resistance or a sharp rejection? Did you ask additional questions and how many? Did you express an urgent need for further instructions?

If so, in what way: did he state this directly, or was this expressed in his movements and behavior? Maybe the child boldly set about completing the assignment and expressed no doubt in his abilities? Or were his doubts and uncertainties reflected in everything he did and said? Such observations give much food for thought: maybe the child feels unprotected, he is anxious, restless, not confident, doubtful, suspicious, arrogant, shows negativity, extremely critical, hostile, tense, calm, trusting, curious, confused , alert, impulsive, etc. etc.

After drawing is complete, ask the child if he drew everything, and then go on to the conversation, which is built on the basis of the drawing and its features. During the conversation, you can clarify all the unclear moments of the drawing, and through the relationships, feelings and experiences that the child expresses during the conversation, you can get unique information about his emotional, psychological state. 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 evil? Who is he looking at? Who is looking at him?

In principle, you can resort to a short version of the processing of graphic information. You will not find any deep revelations, but you will receive some data regarding the mental development of the child. Answers to the questions presented below will make it clear whether the child is showing any obvious deviations, and if there are signs of psychopathology.

1. A person has a head drawn.
2. He has two legs.
3. Two hands.
4. The body is sufficiently separated from the head.
5. The length and width of the body are proportional.
6. The shoulders are well drawn.
7. Arms and legs are connected to the body correctly.
8. The joints of the arms and legs with the body are clearly highlighted.
9. Neck is clearly visible.
10. The length of the neck is proportional to the size of the body and head.
11. A man has eyes painted.
12. His nose is drawn.
13. Drawn mouth.
14. The nose and mouth are of normal size.
15. See the nostrils.
16. Drawn hair.
17. Hair drawn well, they evenly cover the head.
18. The man is painted in clothes.
19. At least, the main parts of the clothes are drawn (trousers and jacket / shirt).
20. All clothes depicted in addition to the above are well drawn.
21. Clothing does not contain absurd and inappropriate elements.
22. Fingers on the hands.
23. On each hand are five fingers.
24. Fingers are fairly proportional and not too spread.
25. The thumb is well highlighted.
26. Wrists are well traced by narrowing and subsequent expansion of the forearm in the hand.
27. The elbow joint is drawn.
28. Traced the knee joint.
29. The head has normal proportions in relation to the body.
30. The arms are the same length as the body, or longer, but not more than twice.
31. The length of the feet is approximately 1/3 of the length of the legs.
32. The length of the legs is approximately equal to the length of the body or longer, but not more than twice.
33. The length and width of the limbs are proportional.
34. On the legs, heels can be discerned.
35. The shape of the head is correct.
36. Body shape is generally correct.
37. The contours of the limbs passed exactly.
38. There are no blunders in the transmission of the remaining parts.
39. Ears are well distinguishable.
40. Ears are in place and have normal sizes.
41. Eyelashes and eyebrows are drawn on the face.
42. Pupils are located correctly.
43. Eyes are proportional to the size of the face.
44. The man looks straight ahead, his eyes are not oblique to the side.
45. Clear forehead and chin.
46. ​​The chin is separated from the lower lip.

Conclusions make very easy. In general, the child’s drawing should correspond to the description given. The closer his drawing is to this sample, the higher the level of its development. Assigning one point to each positive answer, add the points you received.
A normally mentally developed child must score the glasses below in accordance with his age.

 5 years - 10 points

 6 years old - 14 points

 7 years old - 18 points

 8 years old - 22 points

 9 years old - 26 points

 10 years - 30 points

 11 years old - 34 points

 12 years old - 38 points

 13 years old - 42 points

 14 years old - over 42 points

Such additional details of the drawing, such as a cane, briefcase, roller skates, etc., are in favor of the child, but on the condition that this detail is relevant in the drawing or even necessary for the person depicted, for example, a sword for a warrior.

The figure may also contain negative signs that should be addressed as they may indicate certain problems.

Fig.13. Figure of a man without a nose and mouth.

 There are no eyes on the face; one eye on the face in full face; two eyes on the face in profile.

 No nose, nose as one vertical line or point.

 No mouth or one-dimensional mouth in the form of a horizontal line.

 No torso or body in the form of a stick.

 There are no hands (one hand is in front of the figure), there are no fingers.

 Brush in the form of mittens, chipping brush or circles without fingers.

 No feet.

 No clothes and no sexual signs.

 The shin is wider than the thigh and other imbalances of the body.

Note first whether there are gross errors in the figure of the figure, for example, such as those listed above.

If we proceed from the fact that the drawing of the human figure symbolizes the image of the body, which is considered to be very susceptible to external stimuli that violate the emotional state of the child, then the drawing will symbolically reflect the problems he is experiencing. The greater the disorder of the child, the more it suffers as its body image, and the graphic representation of the latter. Following the image of the body of the child may suffer in whole or in part, or simply become slightly different from the usual. Among serious deviations, such as the image of a figure with scattered parts of the body, completely inappropriate details, the image instead of a person of another object, erasing a drawn human figure, rigid, motionless, robot-like (Fig. 14) or very fancy figures.

Such cases indicate serious problems and disorders.

Another significant negative factor is that the child depicts a figure of the opposite sex, which is not necessarily associated with homosexual tendencies, as is often believed. This can be an expression of a confused sexual role, strong attachment or dependence on the parent of the opposite sex, strong attachment or dependence on some other person of the opposite sex.

Faced with something similar or just incomprehensible, do not rush to draw conclusions. Some oddities in the drawings may have simple and plausible explanations. Therefore, the next step will be the description of the drawn figure. Ask the child to tell who is depicted in his drawing. Even a simple description by a child of a picture can give interesting information, because, despite the absence of external similarity of the author and his creation, in the description of the figure we will focus on the child, his feelings, thoughts and experiences.

Other questions to ask the child in order to get as much information from him as possible:

 Who is he?

 Are you familiar with this person?

 Who does he look like, who does he resemble?

 Who did you think about when drawing?

 What does a drawn person do that he is currently busy with?

 How old is he?

 Where is it located?

 What is around him?

 What is he thinking about?

 What does he feel?

 What does he do?

 Do you like him?

 Does he have bad habits?

 Does he have any desires?

 What comes to your mind when you look at this painted person?

 Is this person healthy?

 What does this person most want?

During this conversation with the child, you can ask him to clarify or comment on the unclear details in the picture, questionable or unclear points. Also ask what part of the body, in his opinion, turned out best and why, and which part is the most unsuccessful, why.

Another way to talk with a child is to ask him to compose a story about this person.

After you have gathered the primary information using this brief survey and analysis of the child's behavior during drawing, you should proceed to the interpretation of the drawing. First of all, you need to keep in mind that each part of the figure depicted has a symbolic meaning, the nature of which is taken into account in the interpretation. Each organ of the body acquires a special symbolic meaning, since it echoes the emotional and social life of the child.

Once again we want to warn about the inadmissibility of hasty conclusions. Studies show that the ways and manner of expressing emotions, experiences, conflicts and other aspects of a child’s mental life vary depending on the situation and vary from person to person. Therefore, you should not try to make a diagnosis based on a single sign; in the process of analysis, you should take into account the figure as a whole.

^ Symbolic meaning of a human figure

Head  - the personification of the sphere of intelligence, the place of localization of the child's "I", its mental center, so it is not surprising that maximum attention is paid to the head. If the child pays little attention to the head, this may indicate problems of adaptation to the social environment, difficulties in communication, or even the presence of neurosis, since the head and, in particular, forehead  - it is also a reflection of self-control and the sphere of social contacts. This is the part of the body that is always open to the views of others and through this is involved in the process of relationships with other people. Lack of forehead indicates that the child consciously ignores the mental sphere. The ratio of the proportions of the head and the body is the relationship between the physical and the spiritual in the child. If a person has disproportionately large head - this may be a sign that the child is suffering from headaches or experiencing other negative effects in this area. Fixation on the head may be associated with a weakening of intellectual abilities or control, with the result that the value of this part of the body for the child increases. The big head appears in this case as an expression of the desire to compensate for the missing. Adolescents who are aware of their lag behind their peers in mental development, in the development of reading or writing skills, etc., or who suffer from adaptation disorders, also often draw a large head in a person.

Hair. The selection of hair on the head may indicate a desire to emphasize the masculinity of the male figure. Emphasizing girls on their hair, a careful depiction of lush hairstyles, long, cascading hair in combination with other obvious elements of embellishment may indicate early sexual maturation.

Face  - symbol of the sphere of communication, the most important center of communication. It is considered to be the most social part of the picture. A child who experiences difficulties in communication, is timid, seeks to avoid problems associated with conflicts in relations with others, depicts facial features indistinctly, poorly draws them, depicts very schematically, misses the image of facial features. At the same time, he can carefully and confidently select other parts of the figure. Indicative and the case when the child draws the face in the last turn. The relationship of such a child is very superficial, other people, he suffers, since-ku-ku. He is extremely cautious, expects only bad things from others, often hostile to others. We can talk about aggression and hostility in the case of the image of the corresponding facial expression: bulging eyes, tight lips, or open mouth with bared teeth. Well traced facial features speak of attention to oneself, healthy self-esteem. On the other hand, focus on this part, excessive underlining and highlighting of facial features may be an attempt to create an image of a socially adapted, successful, possessing personal energy of a person in order to compensate for their inadequacy and weakness of self-affirmation.

Painted face  - a rather negative sign that correlates with the loss of identity, the loss of a sense of self. No less disturbing fact is the image of an animal face or a robot-like, as well as an impersonal, non-expressing face, which can be said to be inanimate.

Chin. The stereotypical meaning was fixed to him, according to which we know that the chin is a reflection of will power, imperiousness, masculinity, etc. The fascination with the image of the chin, which is manifested in the fact that it is often erased, redrawn, outlined or painted prominently protruding (in the figures of figures in profile), can be regarded as a compensation for weakness, indecision, fear of responsibility. This may mean striving for excellence and gaining importance in the eyes of others. This interpretation is even more justified if the strong, with pressure, drawing of the entire facial profile is combined with weak, light lines in the image of the remaining parts. In this case, it can be assumed that the author of the picture does not really possess such qualities and only paints himself to be such in the imagination.

Eyebrows. Eyebrows are given the same meaning as the scalp. Neat eyebrows, as well as a neat hairstyle, - evidence of concern for their own appearance, grooming, restraint, moderation. Thick, shaggy eyebrows talk about rudeness of character, obstinacy, incontinence, primitiveness of morals, etc. Raised eyebrows are associated with arrogance and arrogance.

Ears  - if they exist, they indicate openness of perception or alertness towards the world around. Children begin to portray ears at a rather late age, so skipping this part of the body or hiding it behind the hair is considered insignificant. The specific selection of ears in the figure may indicate sensitivity to comments and condemnation and, indirectly, obstinacy and insubordination to authority.

Eyes, as is known, is a mirror of the soul, a reflection of the inner world of a child. Already an expression of the eyes can say a lot about the child: bashful, dreamy, sullen. Closer, piercing eyes - an expression of aggressiveness. The eyes are large, with traced pupils or without pupils with shaded sclera - a symbol of fear or anxiety. Large and carefully traced eyes are mostly painted by girls and much less often by boys. Eyes wide open, but not exaggerated, may be a sign of curiosity. The gaze is not straight, but the oblique speaks of suspicion.

Because with the help of the eyes we contact with the outside world, in the case of small eyes, we can talk about secrecy, self-centeredness, preoccupation with our own feelings. Closed eyes - an attempt to isolate from the outside world, from contact with others. The absence of pupils, empty eye sockets, probably speak of extreme egocentrism, that the child does not find anything worthy of his attention around. Beautiful, symmetrical, well-traced eyes are a reflection of the desire to be attractive, likeable to other people.

Mouth- multi-valued element. If the mouth is open, then it is considered to be a sign of aggression or verbal activity of an aggressive nature, if teeth are drawn, then this is a clear aggression. Perhaps it is protective. The selection of the mouth, which can be expressed in erasure, displacement, disproportionate sizes, underlining, etc., is generally typical of young children who have not been in oral dependence on the mother recently. In older children, this is already becoming a sign of dependence, lack of independence. The mouth, indicated by one straight line, can speak of internal stress.

Lips  - The generally accepted symbol of the sexual sphere. In the drawings of children, the lips are one of those details through which the general expression of the face is transmitted. The plump lips of the figure painted by the girl are a sign of correct sexual identification. Drawn lips in the figure of a teenager may indicate the presence of narcissistic tendencies.

Nose- by itself has no interpretative value. Often, in connection with the nose, people recall the psychoanalytic interpretation, in the vein of which he is considered a sexual symbol. Although practicing psychologists believe that a teenager who is experiencing sexual problems is more likely to focus on symbols such as tie or pants pockets, and not on the nose. Lack of nose may indicate some degree of intellectual failure.

Neck  It is a link between the body (the symbol of animal passions, impulsive life) and the head (intellectual center, mind, control). The neck areas are focused on those who are concerned with the relationship between bodily impulses and conscious control.
Such people are not sure that they can always cope with their impulses. They are characterized by a state of a certain duality. A long neck is associated with a squeezed, constrained, moralizing, mannered man, well controlling himself.
A short neck can symbolize naturalness, straightness. The lack of a neck in the drawings of children is a sign of immaturity.

Fig. 17

Arms  - a symbol of activity, communication and contact (Fig. 17). If a person's hands are spread apart, as if for a hug, stretched toward the environment - this is a sign of sociability, active interaction with the outside world. If the hands, on the contrary, are hidden behind their backs, sluggishly hang along the body, tightly pressed to the body, the palms are hidden in the pockets - this may indicate uncommunicity and isolation. In combination with other features of the design, this may be a sign of self-care, narcissism and vanity, or strong internal stress. Another important characteristic of the image of the hands is their tone. Flexible, mobile, freely located hands, probably, mean good social fitness, ease of establishing contacts with the environment, active introduction into the environment. Hard, stiff, mechanically outstretched, arms bent at right angles can characterize surface and non-emotional contacts with the outside world.

Large, large palms  - a sign of an active, explosive nature, whereas the absence of palms indicates unsuitability, lack of faith in one’s own strength, a feeling of unsuitability. Poorly traced palms speak of a lack of contact, a limited area of ​​communication and low productivity in practical activities. Carefully traced fingers mean the ability to control the situation, hold in your hands, manage it. Long fingers with nails or underline fists  - a sign of aggression, militancy. Fists on the arm detached from the body - open hostility, rebellion, opposition. If the hands with clenched fists pressed to the body, we can talk about the hidden, repressed tendency to revolt. Fingers can speak of aggression, depicted as if a person is ready to clutch at something, like the claws of a bird of prey. Other possible symbols of hostility: arms raised, painted hands. No hands - extreme degree of passivity, inactivity, lack of communication, timidity, intellectual immaturity. In combination with such features of the drawing as the absence of a mouth, the absence of the body and the general grotesqueness of the drawing, the absence of hands indicates a poor fitness of the child. For older children, the absence of hands is a very unusual fact. In addition, it can express a sense of guilt that a child experiences in connection with his aggressive, hostile attitude. The same can mean heavily shaded hands. Short arms  they may indicate closure, turning inward, towards oneself, and a desire to keep oneself within certain limits, not allowing one’s manifestation to manifest. If the child draws long arms  - it speaks of orientation to the outside world, contact, the desire to acquire, accumulate. Big, muscular arms  children draw, recognizing the priority of forces seeking to become physically strong, and large and strong hands appear on the drawings of those who are trying to balance this way, to compensate for their own weakness. On the other hand, a child who is aware of his weak physical condition can depict thin, fragile hands.

Torso  - a symbol of the child's presentation of the physical appearance of a person. A strong, muscular body, painted by a fragile, weak child, is a sign of compensation for a missing, ideal physical appearance for him. A large, strong body with powerful shoulders in a child’s figure of normal build is an inner strength, a strong ego. Wide massive shoulders  serve as an expression of physical strength and superiority. Adolescents experiencing sexual inadequacy may express this in shoulders that are strongly marked in relation to other parts of the body. If a strong child draws a weak body, then perhaps this is due to some experience from past experience.

Fragile body  may be an expression of his own weakness. A child seeking to indulge his desires and ignoring any manifestations of self-control can draw a weak, weak-willed body with a disproportionately small head. If a small child portrays the navel - this is a sign of egocentrism, if the navel is painted by an older child - this becomes an expression of immaturity or a desire to withdraw into yourself. In general, the rounded shape of the body - balance, more relaxed nature, some femininity.

Angular, rectangular shape associated with masculinity, vigor and expressiveness. Often the figure is decorated with additional accessories (bows, buckles, etc.). This means increased attention to one's own person. An extremely negative sign - the image of the internal organs. It testifies to serious mental disorders.

Legs  - a symbol of support, stability, focus on practical orientation. If the feet are drawn in profile - this is a sign of stability, self-confidence.

Pic.18

Toes turned toes  to the observer, or lack of feet  express a feeling of insecurity (Fig. 18). Adolescents who in the figure separate the lower half of the body with a bold line can thus express the presence of problems related to the sexual sphere. Weak, short, poorly traced or shaded legs - an expression of insecurity, weakness, his own worthlessness, discouragement. If the feet of a dressed person are depicted with fingers, this may indicate extreme aggressiveness. Little ones unstable feet  - a fairly frequent feature of the drawings of children experiencing a sense of insecurity. Such children paint unstable figures, ready to fall at any moment due to the extremely weak stability of tiny feet. The child unconsciously expresses in symbolic form the instability of a person, built on a weak, unreliable basis. In the case of a lack of a basic sense of security, personality development is impaired; persistent anxiety continues to impede movement toward emotional maturity and mental health.

Genitals. Hiding the genital area is often found in drawings of teenage girls. In the female figure, the hands are depicted shyly covering the lower part of the abdomen, while the hands of the male figure are boldly bred to the sides. One girl drew a bride holding a bouquet over the central part of her body. Other objects may be depicted above the lower abdomen.

Candid image of the genitals. The image of the genitals is so unusual that their presence in the figure can be very significant. The failure to reproduce the genitals seems to be not due to cultural taboos. A more likely explanation is the shift of interest from one's body to the fascinating world around, which is typical for the behavior of children in the period of hidden sexuality. Between six and twelve years old, well-adapted children are becoming more and more involved in the process of mastering new skills and in accordance with the mores of their schoolmates and friends.

Pictures of children from the period of hidden sexuality, in which the penis or vulva is depicted frankly, are very rare. The reasons for this unusual addition should be sought in cases that involve children that are well-developed and are aware of the high emotional value invested in the genitals. Hernia surgery or circumcision after infancy can cause castration fear. Seduction by older children or adults or more subtle maneuvers can excite a child during a period of hidden sexuality, especially an intelligent, sensitive child. Whatever the cause of those rare cases of open images of the genitals - and in most cases they were behavioral disturbances of one kind or another (aggression, phobias) - this did not prevent children from reaching adolescence to develop and adapt well.

Since the figure drawn is considered to be closely related to the author of the drawing and characterizes it in a certain way, the interpretation should cover the maximum of the features of the drawing. Aspects of a person’s drawing, such as the size of the figure, its posture and position on the sheet, the quality of the lines (pressure, hardness, duration or intermittentness), the sequence of the details, the use of background or background effects, as well as extraneous objects are significant aspects myself and are also analyzed. The proportions of the body parts of the figure, the presence of unfinished elements of the drawing, the level of detail drawing, the presence of strong pressure and its localization, erasing, making changes to the drawing, the emotions expressed on the person’s face and posture are taken into account.

^ Size and location

Experiencing insecurity, anxious children tend to draw small figures that modestly occupy only a small area of ​​accessible space. The small sizes of a figure can speak about depression and feeling of unsuitability. On the contrary, well-adapted children with a developed sense of security paint freely, easily, creating a design that, by its size, scale and conspicuous placement on the page, expresses freedom from anxiety and anxiety. The excessively large, bulky size of the figure seems to express weak internal control and expansiveness.

The inclined figure may reflect a lack of mental balance, instability. The figure, shifted to the right on the sheet, speaks about orientation to the external world, shifting to the left means focusing on oneself. If the child takes the picture mainly the upper part of the sheet, it means that he is inclined to optimism. The feeling of depression, depression, is often reflected in the location of the figure in the lower part of the sheet.

A large, painted in a big way figure placed in the center of the sheet speaks of high self-esteem. If a child draws a line of earth and places a person high away from it, so that he seems to be floating in the air, then he is probably characterized by isolation from reality, a tendency to fantasy and imagination, weak contact with reality.

Perspective

Adolescent boys (rarely - girls) sometimes depict a person with a full face body and head in profile. Such an unnatural position of a figure is usually considered a sign of social tension. In addition, it can be a sign of a certain sense of guilt associated with the sphere of communication. If such a situation - head in profile, torso full face - is aggravated by the image of legs in profile, then in this case we can talk about low mental development and disruption of spatial imagination.

^ Other image features

Transparency effect  (the ability to see in the picture one detail through the other). The presence of transparent elements in a drawing can be a completely natural factor if the drawing is made by a child of 6 years.

Figure 19

At an older age, this may already have a negative value, since the transparency of the details contradicts reality (Fig. 19). We can talk about a slight delay in development, as well as more serious violations, such as personality disorganization or mental retardation. In the “soft” version, transparency may also indicate that the child feels deprived of support and protection. The negative value of transparency is estimated by the number of transparent elements and by the size of the transparent part (the second case seems to be more indicative).

Optional parts.  Among the optional parts of the picture - such as a cigarette or pipe, weapons, cane, buttons, pockets, hat. The weapon in the hands of the drawn figure is interpreted as a sign of a hostile, aggressive attitude. Buttons in the drawings of older children may indicate a lack of maturity, infantilism. About the same, apparently, indicates the allocation of pockets. Focusing on elements such as a tie and hat, as is commonly believed, has sexual overtones. Other sexual symbols are a pipe, a cigarette and less often a cane. The allocation of the pants on the pants can be observed in adolescents, preoccupied with masturbation.

Scattered body parts.  Such cases undoubtedly indicate a deviation, since the overwhelming majority of children, even from their earliest attempts to depict a person, draw an integrated figure. A drawing of a person in which parts are scattered without regard to each other is a clear deviation from the norm. This refusal to create a holistic picture was noted in children with serious disorders and is an indicator of their personal disorganization.

Limited, ascetic, robot-like drawings. Limited, stereotypical figures paint emotionally immature children. This violation can take different forms, but the most typical for most children is the discrepancy between abilities and performance in school. Many of them are quite capable, but poorly susceptible to academic pursuits. Often, the origins of the problem can be traced to a family situation marked by excessive tension.

Excessive hatching.  Emphasis on the hatching of the entire drawn figure or its part can be observed in the drawings of anxious children. Hatching may be limited to the face, lower body, or, in particular, the genital area.
Excessive, energetic shading, sometimes directed towards the genital area, can be observed in patterns of repressed, overly controlled younger students, at an age close to the period of hidden sexuality. For children who have passed this stage, that is, are over 13 years old and have reached the age when the child is prone to self-analysis and is concerned about his abilities, such reactions are not typical. Cases of shading in drawings can be indicators of emotional distress.

Drawings without people.  The drawing of a person was and continues to be a favorite subject of children's creativity. In the process of intellectual and personal growth of a child, a person’s drawing undergoes a series of transformations, but this image should be preserved, at least during the period of hidden sexuality as a central motif in the drawings, which may include pets, a house, flowers, a tree, a shining sun, perhaps even a cloud or two. For young children, it is so atypical to exclude a person from the figure, which, of course, confirms the assumption of possible difficulties in interpersonal relations. The refusal to draw a person and the image of inanimate objects should be considered as an unusual, possibly deviant act, involving difficulties in interpersonal relations, abnormal indifference, emotional estrangement, autism.

Dark Clouds and Shaded Sun. Many well-adapted children can illuminate the drawing of a human figure with the addition of a shining sun. Usually in one of the upper corners of the sheet, often in the form of an arc. The lines emanating from the circle represent the rays, and the sun can have a smiling face.
Unusually for children, if they add rain clouds and shade the sun. These ominous signs were seen in the drawings of unhappy, anxious, depressed children.

Erase.  The facts of erasure are considered an expression of anxiety and dissatisfaction. As a rule, erasures lead to a deterioration, rather than an improvement in the pattern, thereby confirming that they are an expression of conflict.

^ Quality of lines

When interpreting the figure, the quality of the lines is also evaluated. The meaning of this or that type of line can be found in the part of the book devoted to the peculiarities of children's drawing as a whole.

In addition, all general aspects concerning the drawing tests, as well as the interpretive material of the House-Tree-Man test in that part of the man’s drawing, are fully applicable to this method.

Conclusion

Thus summarizing the above, we can say that a person’s drawing provides a wealth of information for reflection. The child’s drawing allows to make hypothetical judgments about such properties and personality characteristics as: aggressiveness and hostility towards others, bitterness, confused sexual role, feeling of frustration and impulsivity, anxiety, and many other more or less serious violations.

There is an interpretation of projective drawing tests. And, perhaps, the most popular in this category is the set of tests "Non-existent animals."

Such popularity is quite deserved - this set is quite simple in passing and gives a lot of information.

In this post, I will show you how the interpretation of the test “Non-existent animal” (as well as “Evil animal”, “Happy animal” and “Unhappy animal”) can look at a specific example.

I thank my client for giving me permission to use my materials to write this post.

About the test "non-existent animals"

In general, it is more correct to speak about four separate tests - “Non-existent animal”, “Evil animal”, “Happy animal” and “Unhappy animal”.

The first of them is the main one and can be used separately, the subsequent ones are considered as additional to it.

For the first time the test “Non-existent animal” was proposed by M.Z. Dukarevich, then he refined and tested for many years. Personally, when conducting and interpreting this test, I use the methodological guidelines of A. L. Wenger.

The theory underlying this (and the other tests under consideration) can be stated quite simply: these tests are projective, i.e. in the process of their implementation, the subject in a certain way projects (ie, brings out) some features of his own inner world.

These features and properties appear in encrypted form, in the form of images and symbols, and the task of the interpreter is to decrypt them.

I am often asked about the reliability of these tests and projective techniques in general. Let me give here some quotes from Wenger:

« Of course, drawing methods are not without drawbacks. The main one is the relatively low reliability of the results obtained, due to the subjectivity of interpretation. Unlike more formalized tests, such as tests of intelligence or personality questionnaires, drawing tests, as a rule, do not allow to quantify the assessed mental properties. The terms in which the interpretation of the drawings is carried out are usually devoid of the rigor and uniqueness that is characteristic of formalized tests. Because of this, it is difficult to confirm with scientific methods the reliability and validity of drawing methods.

<…>

The proposed method of analyzing the drawing tests can be characterized as a consistent extension of hypotheses and their testing. The overall impression of the drawing and its most characteristic features serve as the basis for the first series of hypotheses. Attracting each new indicator contained in the figure leads to the confirmation or rejection of one or another hypothesis. In this procedure, on the same rights as the test indicators, many other data come out: the results of observations of the subject, his statements, the psychologist has information about the circumstances of his life, behavioral features, relationships with other people, etc.

Such an interpretation procedure is not typical for test methods. It is more consistent with the traditional approach to the analysis of clinical material. This is a manifestation of the duality of drawing methods: they occupy an intermediate position between test and clinical methods. "

It should be said that all the methods I have applied have been validated and tested.

How does this happen? Very simple: a group of people with known mental illness and life circumstances is taken. For example, imagine that we have schizophrenics, isteroids, daffodils, psychopaths, and depressed patients in this group.

After the sample is made, the subjects are given the task to draw something. For example, a non-existent animal. Then take pictures, make a formalized description and carry out statistical processing. If it is possible to find patterns (for example, “psychopaths draw fangs and claws”), then it is hypothesized that this pattern has diagnostic significance. If yes (that is, the absolute majority of psychopaths painted fanged-clawed animals, and no one, except them, didn’t draw this), then they accept the hypothesis and proceed to the second stage.

At the second stage, another group of people is gathered, about which nothing is known in advance. These people are given the same task, after which they test the hypotheses found at the first stage. If we develop our example, those who painted an animal with fangs and claws are tested (using other methods) for the presence of psychopathicity. And if it matches again, i.e. Since most of those who painted these elements turn out to be psychopaths, the hypothesis is considered approved and valid. And, accordingly, apply and further.

As you can see, there is no shamanism, esotericism and other anti-scientific dregs, all quite within the framework of a scientific approach.

Another thing is that the criteria themselves for evaluating the elements of a drawing are quite subjective (for example, “negligence” or “general unfavorable impression”), which allows for the occurrence of interpreter errors.

And so that my readers and customers can appreciate how well I personally cope with the interpretation of such tests, I post an example in the framework of this article (of course, with the permission of the subject).

IMPORTANT NOTICE : if you want to pass tests from the group “Non-existent animals”, DO NOT READ THE TEXT UNDER THE SPOILERS BEFORE FINISHING DRAWING!  The fact is that this hidden text contains indications of specific diagnostic signs, and if you know them, then your unconscious can greatly distort the results.

IF YOU FIRST READ THE TEXT UNDER THE SPOILERS, AND THEN DRAW ANIMALS, THEN YOUR RESULTS ARE INCORRECT AND ARE NOT SUBJECT TO INTERPRETATION.
==============================

And once again, for those who managed to develop banner blindness: please do not read the text under the spoilers before you finish drawing. If you first read and then begin to draw, the test will show garbage that has little to do with reality. Thank.

What can you learn with this test

It is logical that the future customer wants to know what kind of information he can get by passing this test. Well, let's try to answer him this question.

The first thing that needs to be said here is that in advance we cannot predict how informative his drawing will be. It depends on a huge number of factors, the effect of which at the time of the survey remains unknown.

For example, some test subjects identify problems in the sexual sphere (even pointing to specific perversions), while others do not contain information about this area of ​​their personality.

But in general, we can distinguish a certain set of information clusters, the appearance of which is quite justified to expect in the test results:

1. The level of general mental development;
2. The predominance of a rational or emotional approach to reality;
3. The level of psychomotor tone, increased or decreased activity, asthenia;
4. Lack of self-control and action planning, impulsivity;
5. Increased emotional lability or, on the contrary, rigidity;
6. Anxiety (as a personality trait) and anxiety (as a condition at the time of the survey);
7. Fears;
8. Depressive trends;
9. Features of the reaction to stress;
10. Aggression (with the ability to differentiate its forms such as physical and verbal aggression, defensive aggression, neurotic aggression);
11. Extroversion or, on the contrary, introversion;
12. Demonstrative;
13. Dissatisfaction with the need for communication;
14. Autism, avoidance of communication;
15. The degree of socialization and conformity;
16. Antisocial tendencies;
17. Attitude towards the sexual sphere;
18. Attitude to the family sphere as a whole and to individual family members (it appears quite rarely).

And now - let's proceed to the consideration of a specific example.

Information about the subject

Female gender;
  Age: 26 years;
  Family status: Married;

Testing procedure

Testing was conducted in absentia. The subject was given standard instructions for completing assignments: "Non-existent animal", "Evil animal", "Happy animal" and "Unhappy animal."

Significant facts that appeared during the execution of the task:
1. A large number of clarifying questions;
2. Attempts to perform the task not according to the instructions (questions about the use of colored pencils);
3. Long assignment time;
4. Violation of the order of tasks.
Nonexistent Animal - Drabyergy

This assignment is emotionally neutral and shows those personality traits  her subjects, who manifest themselves in the absence of external and internal load, i.e. it shows the characteristics of the subject in a calm state, when nothing evokes in it any particular strong emotions.

Information about Drabyerjy from the subject's words (spelling and punctuation preserved)

"Any animal. Drebyers.

It is an esthete and gourmet. With a minimal need for communication, which can be explained by the natural character of 3 heads, 3 different characters and personalities who get along well in one organism.
Heads whose description is very superficial:

1) calm temper, logical thinking, assessment of events in relation to their own value system

2) noisy, talkative, expressive, bold, causes sympathy with his personality and charisma

3) lover to win, but appreciates close ties; ready to give in if it matters to the rest

The body as such is very chaotic, the organs in it wander, and the shape of the body is flowing. Lower and upper limbs are absent. The mouth sometimes serves as a substitute for the function of the hands.
When hunting hunt sacrifice. Since the organism itself is black in color and with a smell not taken by animals as coming from a living dangerous organism, 99.8% of cases can successfully reach victims. Body size is also amenable to transformation in length and width, but the heads do not change their stable shape.

Hunting for him is not only a way of living, but also one of his favorite entertainment. He eats animals unseen by Earth, preferably while they are still beating in agony and holding on to the warmth of the body.
He lives alone in a large, refined palace with a garden, where there is a pond with toads. Which he paints in different bright colors, because their real color is too boring. Toads are his best friends, but they do not share this opinion. There are also servants in his palace, but he does not consider them as people, refers to them as shadows or scenery. The gloomy view of the palace and its inhabitants served as a pretext for composing unprecedented myths and tremendous tales, it is not surprising that the locals are avoiding it.

Despite the fact that it is surrounded by other people, the action takes place not on the Earth, on another distant planet. There they live together with other creatures unknown to us.
It is engaged in absolutely everything that comes to mind. Of course, sometimes there are disputes over the primacy in the implementation of the desired. In this case, the heads guess the numbers and the one who first guesses the conceived one of the other 2 heads wins.

Their favorite joint activities: watching bloody films, causing a pleasant outburst of emotions inside; the pleasure of listening to music - they are all selective music lovers; drawing joint pictures and decorating toads, of course. The brush is held in the mouth; reading books written by other creatures, not humans; and reasoning about experiences.

The range of their emotions strongly resembles the human. But so far, none of the events caused a release of emotions in them, contributing to the generation of corresponding injuries: their entire lifestyle is filled with events that cause excitement, delight and encouragement to dig deeper and further into the subject. He is able to admire a lot: the unique beauty of animals and forests; castle architecture; pond depth; the smallest faint sounds; even the facial expressions and appearance of people; drowning in a look which, at times, is more beautiful than the surrounding world; the color of blood, its sprinkles sprinkling the earth; fear of the last breath of an animal clinging to life; the ability to create, search, find, choose, build paths; night darkness and hooting of winged creatures; vocals that can express even more than a look; and the infinity of the imaginary world ..

Although it is an esthete, it is itself practically incapable of creating something, and in the depths it upsets him very much. So deep that it does not cause conscious experiences. It so happened that it was born by a connoisseur, without the presence of special talents.

This creature has one secret - each of the heads can separate from the general organism along with a part of its constituent matter and become a separate full-fledged organism, but only one of them is aware of this, and she prefers to hide this possibility from the others.

It has never sought to become separate organisms. He accepts his existence as a given one, only by surrounding himself with what causes emotional awe within and is valuable, but not material. On any day, it is ready to abandon the castle and go on an unknown journey without a purpose, the meaning of which itself would manifest itself later. "

Interpretation

1. N multidirectional trends  (three heads). In this case, we can say that the subject has a certain internal conflict  (which, in fact, is the source of this contradiction), however he is driven deep into the unconscious  and is suppressed by powerful compensatory mechanisms (heads do not contradict, but complement each other).

In addition, the presence of several goals in this case indicates some theatrical behavior, the tendency to constantly play a role, i.e. certain demonstrativeness. Since demonstrativeness in this form is rarely realized, it can be concluded that high level of awareness  and good ability of the subject to self-knowledge.

Such demonstrativeness in conjunction with the other characteristics of the figure indicates infantilism  the subject (as evidenced by these methods SMIL).

2. Introversion  (the animal has no hands or their analog), while the subject maintains a limited number of contacts with selected partners (it can be assumed that there are 5-6 people by the number of outgrowths of the animal's shell, and the connection with one of them is questionable for the subject himself);

3. Schizoid accentuation  (schematic image of the animal, the formality of the name made up, a small amount of graphic details as opposed to a rather lengthy description). In this case, this accentuation does not go beyond the psychological normshe is a pretty source high creative abilities  the subject and her apparent originality, but does not take pathological forms (according to this technique)

The hypothesis of schizoid accentuation is also confirmed by the indication that this animal is an esthete and its love for bloody spectacles, as well as the way of feeding, accompanied by the torment of the victim.

It should be noted that in this case it does not indicate the subject’s sadistic inclinations, since for schizoids such features are not something that goes beyond the norm.

Here you can make an assumption about insufficient empathicity test, but for its final adoption it is necessary to conduct additional studies using other methods;

4. Asthenia, propensity to auth  (absence of pupils in one of the heads). A characteristic sign is that the subject connects asthenia and autism with the first head, which, in fact, personifies a rational approach to the world.

This suggests the importance of such psychological defense mechanisms as intellectualization  and rationalization  in the functioning of the psyche of the subject. With the help of these mechanisms, she is able to cope with negative experiences, transferring them from the emotional, uncomfortable for the subject, to the rational level, where the developed intellect can process them. These protections are mature.and their active use indicates a high (not less than neurotic) level of the personal organization of the subject, which excludes the presence of a serious mental pathology at the time of the survey.

However, the same mechanisms manifest themselves in the same mechanisms. lack of contact with your emotional state, fenced off from this area of ​​their inner world deprives the subject of forces and reduces its performance. No wonder that asthenia is most clearly associated with the head that most effectively suppresses emotions. Test subject not can use her own emotionality  as a source of creative transformative forces;

5. The subject has fears  (blackened pupils in the eyes of two heads). And again, fears are associated with the more emotional heads, which, on the one hand, indicates alienation of the subject from his own emotional spherebut, on the other hand, the fact that the reason for this alienation is that at the deep level the subject herself is afraid of her emotions.

Perhaps this is due to the fear of losing control, but it is more likely that this is a simple consequence of schizoid accentuation, which is generally characterized by a certain estrangement of the emotional sphere;

6. Infantilism  and negativism  (stuck out tongue at the head). You can make the assumption that in the process of its development the subject learned to use her infantilism as a mechanism for social adaptation and protection  (like "I am small, do not touch me"), and now this infantilism is an element necessary for the functioning of a personality, with the help of which the subject simplifies the subjectively complex task of interaction with others.

It should be noted that this mechanism can be quite effective, and the people who use it can make a very favorable impression and seem quite “nice”;

7. Autism  (an indication that the animal has three heads, an indication that no one needs the heads, that their needs are completely satisfied within the framework of the creature itself). However, as a typical schizoid, the subject has an internal conflict on the topic of proximity-distance(especially expressed in other drawings): she aspires to others, but unconsciously fears absorption by them, and tries to solve it in favor of distance.

The strength of this position lies in the fact that with the help of this solution, the subject acquires greater independence and independence from others. Weakness is manifested in the fact that by refusing to draw closer to others, the subject deprives itself of the opportunity to fulfill some needs, which can be satisfied only in social interaction (including such a basic need as the need for acceptance and belonging).

8. Total immaturity  and weak structure of the inner world (an indication of the chaotic structure of the body and the mobility of internal organs). On the one hand, this gives the subject a certain flexibility (and, probably, this is the basis for maintaining such an organization), on the other hand, testifies to its immaturity.

9. Lack of emotional contact  or their severe limitations (indicating the invisibility of the animal during the hunt, lack of smell). This hypothesis is also confirmed by the body structure of the animal (see p. 2), but here it acquires a significant addition: even with these few partners there is no real emotional closeness. Again, on the one hand, such a strategy of behavior protects the subject from emotional turmoil, and, on the other, limits its development potential.

Contact surface and formality  confirmed by the residence of the animal, and its relationship with the toads. Probably, the subject has no really close people in life, which is probably related to early childhood psychotrauma caused by rejection and non-acceptance by parents (or their substitutes);

10. The propensity to fantasize  (including to protective fantasizing), supported high level of intellectual and creative abilities  (painting the toads in bright colors, the presence of myths associated with the residence of the animal);

11. Lack of communication, loneliness  (the creature’s residence is another planet). Taking into account the information presented in paragraph 7, we can say that this feeling is a logical consequence of the behavior of the subject, however, it feels painful and is not accepted as a necessary consequence of the decision taken in the conflict of proximity-distance.

In general, this situation is characteristic of schizoids. The opposite of it could be the fear of absorption and dissolution in others, but the subject chose this option.

This feeling could be overcome by realizing a deep, emotionally significant contact with another person, but the fear of making such contact with the subject is too great.

12. Inclination to reasoning, reasoning  (description of decision making by heads), characteristic of schizoids, supplemented stuck on small partscharacteristic of anxious personalities.

13. Estrangement from the emotional component of the inner world  partially compensated by the occurrence exalted states  or even hypomania (a description of what the animal might excite). This is a favorable prognostic sign: with an adequate psychotherapeutic effect, the patient's mood (for which there are likely sharp drops) can be stabilized without serious pharmacological interventions.

14. Doubt in own creative abilities  (the animal is not able to create anything). The subject is so afraid of the emotional sphere, so strongly alienates her that it is easier for her to lower her own self-esteem by recognizing “her own inability and mediocrity” than to turn to her emotions, accept them and receive from them a powerful supply of her creative abilities. Here we are talking about intellectual emasculation, and not about the true limitations of thinking.

15. Internal conflict, despite the fact that it is pushed out rather deeply, is pretty strong. Most likely, it is he who is the source of fear that the subject is afraid of, she cannot afford to look at this conflict and prefers to experience all the inconveniences and limitations associated with rejection of the emotional sphere than to see it. It has tremendous power, which in the future can become the basis for the development of adverse mental processes and even lead to illness (heads can go out and separate).

16. Low value of material well-being  (the animal has no "legs" or elements replacing them, a direct indication of this fact in the description). Most of the actual needs of the subject are “existential”, aesthetic and social in nature.

17. High level of creativity  (the animal is built according to the original scheme and is accompanied by a detailed highly artistic story).

Happy Animal - Pickey

This task is emotionally loaded, it shows those aspects of the subject's personality that in one way or another are associated with her state of happiness - they favor the acquisition of this state or interfere with it.

Information about Pickey from the subject's words (spelling and punctuation preserved)

"The happiest animal. Pickey

This shaggy beast is about the height of a human patella. Habitat - our world, only to meet it is rarely possible. Pickey is a herbivore. Most of all likes to gnaw leaves from trees. Moves by jumping. The tail is similar to the flagellum euglene green, but it is necessary for balance. There is a blush on his cheeks, and in the center of the abdomen - a symbol of happiness (he is the generator of happiness).

It is worth noting that Pikki does not know how to be sad, but he produces happiness in excess and he himself does not need so much. Happiness is impossible without understanding the other side - pain. He is aware of this inevitable part of existence, but he himself does not experience anything like this - he is immune from suffering, with which the absence of enemies and fears is also connected. His life is led by non-random events and meetings, so he always has something to do, he just fulfills his true purpose. Others are always welcome. When we first met - surprised.

He comes at night to the houses of unhappy people, he necessarily draws a sign similar to the one on their stomach on the wall and waits for people to wake up, and they always wake up at night. He gives gifts of happiness, and the sign on the wall forever remains a reminder of his modest visit. Perhaps one day he will come to you as well ..

* Stars in the background mean a painless exaltation "

Interpretation

1. A good mood  or hypomanic episode  at the time of the start of the survey (this animal, contrary to the instructions, was drawn first). The probable reason for choosing this particular task as the first one is that the subject wanted to reduce the level of fear from facing her own emotionality, and unconsciously chose the most favorable and safe version of the task;

2. Introversion, the lack of frustration of the need for communication, it is simply not in a strongly pronounced form (a happy animal has no hands or their analogues, it is difficult to access). The subject does not realize and does not feel on a conscious level the need to increase the number of contacts.

This is somewhat contrary to her needs, which can only be met through social interactions (see descriptions of other animals). The explanation for this contradiction can be found in the fact that some of the existing contacts are probably difficult for the subject and she would like to get rid of them.

On the other hand, it is possible that it is prone to intellectualizing and rationalizing the need for contacts (this is clearly indicated by the evidence of such a need for text - see clause 10 - and its absence in the image);

3. Unconscious fears  (blackened eyes of an animal). They are more pronounced in the "ordinary" animal, but remain with the happy one. This suggests that one of the necessary criteria for happiness for the subject is to reduce the power of fear.

This situation is typical for anxious personalities. In conjunction with the data obtained from the analysis of other animals, it can be assumed that initially the subject was a very sensitive (sensitive) child, and schizoid accentuation formed later, as a compensatory mechanism.

4. That for achieving a sense of psychological comfort is necessary to place in a more friendly environment  they say the ears of a happy animal (the ears are a symbol of alertness, but here they are folded, there is no need to be afraid). Again, a typical situation for anxious personalities  - the desire to get into a safe and predictable environment;

5. A happy animal - the first (the second - the unfortunate), which has expressed sexual symbols (tail and underlined, drawn with pressure of the mouth), but in this case we are not talking about active sexuality (the tail is thin and lowered down), but rather , about accepting your gender role identity. In other words, the subject would like to integrate better with her gender, disunity between the biological sex and its psychological self-representation is a source of unpleasant sensations for the subject.

6. Often states of happiness and elation / exaltation  for the subject are not a true reflection of her inner world, but compensatory mechanismdesigned to cope with anxiety (the stars in the figure that fill the entire sheet);

7. Security need  (the wool is pressed to the body in a happy animal);

8. Tall but unsatisfied the need for making your own physicality  (a happy animal has a “symbol of happiness” on its belly). The subject may be trying (or planning) to satisfy her by body modifications  (tattoos, piercings, causing and unusual hair, clothes).

A deeper explanation may be a reference to the fact that schizoids tend to oppose the mind to emotions, referring to the latter, rather, to the physical level. Thus, it is possible that this pattern on the belly symbolically revealed the need to integrate the emotional sphere.

9. Strong unmet need for acceptance and affiliation  (happy animal is built according to the standard scheme). It is interesting here that the unfortunate animal is also built according to the standard scheme, while the “usual” - according to the original one.

Probably, the following situation takes place here: the subject feels a certain discomfort from his otherness (and this resulted in the construction of an unparticular animal according to the standard scheme), wishing to become more “normal”, similar to the others (which led to the creation of a happy animal according to the standard scheme );

10. The need for acceptance and contact with others(the animal lives in our world and actively interacts with others);

11. Possible availability hypomanic episodes  (an indication that the animal produces an excess of happiness that it does not need so much). This assumption is confirmed by data obtained using the SMIL method;

12. May indicate the presence of affective disorder  by type of BAR or cyclothymia (happiness is impossible without understanding the other side). Periods of exaltation, undoubtedly occurring in the subject, appear to alternate with periods of depression and decay;

13. Existential need for the meaning of life  (animals are led by "non-random events and meetings", it "fulfills its purpose"), which is an indicator infantilism  and the test subject’s immaturity (such a need is more characteristic of adolescence);

14. Need to accept  (others are always welcome to this animal). One of the main areas of work with the subject should be the explanation that part of the needs can only be realized in social interactions. For example, if you do not contact with others, they will not be able to treat you well.

Continued - in

Method Description

Projective methods of personality research; proposed by M.3. Drukarevich. The subject is asked to invent and draw a non-existent animal, as well as give it a name that did not previously exist. From the available literature it is clear that the examination procedure is not standardized (different sizes of sheets of drawing paper are used, in some cases the drawing is done with colored pencils, in others - in one color, etc.). There is no generally accepted picture rating system. The theoretical assumptions underlying the creation of the methodology coincide with those of other projective techniques. Like many other drawing tests, the test is aimed at diagnosing personal characteristics, sometimes of its creative potential.

This is one of the most popular drawing techniques. It is widely used by domestic psychologists in the examination of children and adults, the sick and healthy, most often as a guiding method, that is, one whose data allow us to put forward some hypotheses about personality traits.

History of creation

The method of personality research with the help of the projective test “Non-existent animal” is based on the psychomotor communication theory. To record the state of the psyche, the study of motility is used (in particular, the motility of a drawing dominant right hand fixed in the form of a graphic trace of a movement, a picture) According to IM Sechenov, any presentation that arises in the psyche, any tendency associated with this view, ends with a movement (literally - "Every thought ends with movement"). If a real movement, intention is not carried out for some reason, then in the corresponding groups of muscles a certain tension of the energy necessary for the implementation of the response movement (to the idea - thought) is summed. For example, fearful images and thought-ideas stimulate tension in groups of the leg muscles and in the muscles of the arms, which would be necessary if the fear responded by running away or being protected with the help of hands — to hit, to shield. The trend of movement has a direction in space: removal, approximation, tilt, straightening, lifting, falling. When drawing a picture, a sheet of paper (or a painting canvas) is a model of space and, apart from the state of the muscles, fixes the relation to the space, i.e. emerging trend.

Space, in turn, is associated with the emotional coloring of the experience and the time period: the present, the past, the future. It is also connected with the effectiveness or ideally-thought-plan of the work of the psyche. The space located behind and to the left of the subject is associated with the past period and inactivity (the lack of an active connection between thought-representation, planning and its implementation). The right side, the space in the front and at the top are connected with the future period and efficiency. On the sheet (model of space), the left side and bottom are associated with negatively colored and depressive emotions, with uncertainty and passivity. The right side (corresponding to the dominant right hand) - with positively colored emotions, energy, activity, concreteness of the action. In addition to the general laws of psychomotor communication and attitude to space, when interpreting the test material, theoretical norms of operating with symbols and symbolic geometric elements and figures are used.

The procedure for.

“You are invited to invent and draw a non-existent animal, that is, one that has never existed before or anywhere else (fairy tales and cartoons should not be used). And also call it a non-existent name. "

Processing and interpretation

1) The position of the picture on the sheet

Normally, the drawing is located in the center line of a vertically set sheet.

Sheet of paper is best to take white or slightly creamy, non-glossy.

Use medium-soft pencil; pen and marker can not be drawn.

The position of the picture closer to the top edge of the sheet (the closer, the more pronounced) is interpreted as high self-esteem, as dissatisfaction with its position in society, lack of recognition from others, as a claim to promotion and recognition, a tendency to self-affirmation.

The position of the figure in the lower part is the opposite trend: lack of self-confidence, low self-esteem, depression, indecision, lack of interest in their position in society, in recognition, the lack of a tendency towards self-affirmation.

2) The central semantic part of the figure (head or part replacing it)

The head is turned to the right - a steady trend towards activity, efficiency: almost everything that is thought out is planned, carried out, or at least begins to be carried out (even if it is not brought to the end). The subject actively proceeds to the realization of his plans and inclinations.

Head turned to the left - a tendency to reflection, to reflection. This is not a person of action: only a small part of the intentions is realized or at least begins to be realized. Often also fear of active action and indecision (option: no tendency to action or fear of activity should be solved additionally).

Position "full face", i.e. the head is aimed at drawing (on itself), interpreted as egocentrism. On the head are the details corresponding to the senses — ears, mouth, eyes. The value of the detail “ears” is direct: the interest in information, the significance of the opinions of others about themselves.

Additionally, according to other indicators and their combination, it is determined whether the subject undertakes anything to gain a positive assessment or only produces corresponding emotional reactions (joy, pride, resentment, grieving) to the assessments of others without changing his behavior. The open mouth in combination with the tongue in the absence of drawing the lips is interpreted as a great speech activity (talkativeness), in combination with the drawing of the lips - as sensuality; sometimes the one and the other together. An open mouth without drawing of the tongue and lips, especially - drawn, is interpreted as the ease of occurrence of fears and fears, distrust. Mouth with teeth - verbal aggression, in most cases - protective (snaps, bulges, rude in response to the negative attitude to it, condemnation, censure). For children and adolescents, a rounded mouth drawing is characteristic (fearfulness, anxiety).

Give particular importance to the eyes. This is a symbol of fear inherent in man: emphasized by a sharp drawing of the iris. Pay attention to the presence or absence of eyelashes. Eyelashes - hysteroid and demonstrative behaviors; for men: feminine character traits with the drawing of the pupil and the iris rarely coincide. Eyelashes are also interested in the admiration of the surrounding beauty and manner of dress, giving it great importance.

The increased head size (relative to the figure as a whole) indicates that the subject appreciates a rational principle (possibly, and erudition) in himself and those around him. Additional details are also sometimes located on the head: horns - protection, aggression. To determine by the combination with other signs - claws, bristles, needles - the nature of this aggression: spontaneous or protective-responsive. Feathers are a tendency to self-coloring and self-justification, to demonstrativeness. Mane, wool, like hair - sensuality, underlining their gender and sometimes orientation to their sexual role.

Neck - having an opinion. Long neck - an indicator of high self-control.

3) Carrier, supporting part of the figure

It includes (legs, feet, sometimes - a pedestal). The validity of this part is considered in relation to the size of the whole figure and the form:

a) thoroughness, deliberation, rationality of decision making, ways to conclusions, the formation of judgment, reliance on significant provisions and relevant information, b) superficial judgments, frivolity in conclusions and unfounded judgments, and sometimes impulsive decision making (especially in the absence or almost absence of legs) .

The presence of well-traced hands, says about the absence of problems in communication, if the hands are wide apart, as if for hugs - this may mean a thirst for communication, it is not enough for a person. If the hands are not drawn, he doesn’t really like to talk, he’s better alone with himself.

Pay attention to the nature of the connection of the legs with the body: accurately, carefully or carelessly, weakly connected or not connected at all - this is the nature of control over reasoning, conclusions, decisions. If the legs are proportional to the body and are stable in appearance, then the person has taken a good position in society and feels comfortable. If the legs are too small or, on the contrary, are too long and unstable, this can mean a fragility of the position occupied, a feeling of irrelevance.

The uniformity and unidirectionality of the shape of the paws, of any elements of the supporting part - conformance of judgments and attitudes in decision-making, their standard, commonplace. The variety in the form and position of these details - the originality of attitudes and judgments, independence and non-banality; sometimes even creativity (according to unusual forms) or dissent (closer to the pathology).

4) Parts rising above figure level

They can be functional or adorning: wings, extra legs, tentacles, details of armor, feathers, bows like curls, curls, and flower-functional details - the energy of coverage of various areas of human activity, self-confidence, “self-propagation” with indelicate and indiscriminate oppression of others , or curiosity, the desire to participate as much as possible in a greater number of affairs of others, winning a place in the sun, enthusiasm for its activities, the courage of enterprises (according to the meaning of Details i-symbols — wings or tentacles, etc.). Decorating details - demonstrativeness, the tendency to attract the attention of others, mannerism (for example, a horse or its non-existent similarity in the sultan of peacock feathers).

The symbolic meaning of the tail in the figure of a non-existent animal in standard keys is considered from two positions: an assessment of its actions, an attitude towards its past.

1. In the first case, the human assessment of internal (thoughts) and external (human actions, actions) forms of their activity is expressed by the orientation of the tail of a non-existent animal. If the tail of a non-existent animal is directed to the right - the person is currently thinking about his actions and actions, evaluates the results of external manifestations. If the tail of a non-existent animal is directed to the left - the person reflects on the lost moment due to his own indecision, evaluates the results of internal manifestations. In the case when the tail of a non-existent animal is directed upwards (by a pipe or carrot) - the person is confident in his actions and their results. He has an optimistic, friendly and light character. The person has a positive self-esteem, seeks to change and improve. If the tail of a non-existent animal is directed downwards (preloaded, falls down) - the person is not interested in self-development. He is dissatisfied with himself, depressed, doubts his strength, regrets what he has done (said or done), repents, feels fear. This is a pessimist who negatively evaluates his actions and deeds. If the tail of a non-existent animal is directed straight - the person is satisfied with everything in life.

2. In the second case (relation to the past) the interpretation is given by the magnitude of the tail. If the tail is big, the past of a person does not give him rest. If the tail is small - the past of the person is not very worried.

3. The number of tails. If a non-existent animal has several tails, the same interpretation is given as in the case of a branched tail, that is, it indicates the inconsistency of self-esteem or dependence of a person. If 2 tails are turned to the sides and the animal has big ears, the person’s self-esteem strongly depends on the opinions of others.

4. The way to image the tail of a non-existent animal. Branched tail - indicates the dependence of a person or the inconsistency of his self-esteem. If a non-existent animal has a long and lush tail (there may be several), then the person is pleased with himself. If the tail is short and thin - the person is not very confident. If the tail is thick, this indicates a high significance of the sexual sphere.

6) The contours of the figure

Analyzed by the presence or absence of protrusions (such as shields, shells, needles), drawing and darkening of the contour line. This is protection from others, aggressive - if it is made in sharp corners; with fear and anxiety - if there is a blackout, "soiling" contour line; with fear, suspicion - if shields are set up, “barriers”, the line is doubled. The focus of such protection is according to the spatial location: the upper contour of the figure is against the superior, against those who have the ability to impose a ban, restriction, to enforce, i.e. against older parents, teachers, bosses, managers; lower contour - protection against ridicule, non-recognition, lack of authority among subordinate subordinates, younger ones, fear of condemnation; lateral contours - undifferentiated caution and readiness for self-defense of any order and in different situations; the same is true for the “protection” elements, which are not located along the contour, but inside the contour, on the animal body itself. On the right - more in the process of activity (real), on the left - more protection of their opinions, beliefs, tastes.

7) Total energy

Estimated number of parts depicted - whether only the necessary number to give an idea of ​​a fictitious non-existent animal (body, head, limbs or body, tail, wings, etc.): with a filled outline, without shading and additional lines and parts, just primitive contour, - or there is a generous image of not only the necessary details, but also complicating the design. Accordingly, the more components and elements (in addition to the most necessary), the higher the energy. In the opposite case - saving energy, asthenia of the body, chronic somatic disease (the same is confirmed by the nature of the line - the weak cobweb line, "carries a pencil on paper," without pressing it). The reverse nature of the lines - bold with pressure - is not polar: it is not energy, but anxiety. Attention should be paid to sharply extruded lines, visible even on the reverse side of the sheet (convulsive, high muscle tone of the drawing hand) - sharp anxiety. Pay attention also to which part, which symbol is executed in this way (i.e., what the alarm is related to).

Evaluation of the nature of the line (dubbing of the line, negligence, inaccuracy of connections, “islands” of overlapping lines, blackening of parts of the figure, “staining”, deviation from the vertical axis, stereotyped lines, etc.). The assessment is carried out in the same way as in the analysis of the pictogram. The same - the fragmentation of lines and shapes, incompleteness, disconnectedness of the figure.

9) Types of animals

Thematically, animals are divided into threatened, threatening and neutral (like the lion, hippopotamus, wolf or bird, snail, ant, or squirrel, dogs, cats). This is an attitude towards one’s own person and one’s “I”, an idea of ​​one’s own position in the world, as if identifying oneself by significance (with a hare, bug, elephant, dog, etc.). In this case, the animal being drawn is a representative of the artist himself.

Comparison of a painted animal to a person, starting with placing the animal in a straight-ahead position on two legs, instead of four or more, and ending with dressing the animal in human clothing (pants, skirts, bows, belts, dress), including the similarity of the face to the face, legs and paws on hands, evidence of infantilism, emotional immaturity, respectively, the severity of the "humanization" of the animal. The mechanism is similar to the allegorical meaning of animals and their characters in fairy tales, parables, etc.

10) Aggressiveness

The degree of aggressiveness is expressed by the number, location and character of the angles in the drawing, regardless of their connection with one or another part of the image. In this respect, direct symbols of aggression — claws, teeth, and beaks — are particularly weighty. Attention should also be paid to the accentuation of sexual characteristics - udder, nipples, chest with a humanoid figure, etc. This is related to sex, up to fixation on the problem of sex.

The figure of the circle (especially - filled with nothing) symbolizes and expresses a tendency to secrecy, isolation, closeness of their inner world, unwillingness to give information about themselves to others, finally, unwillingness to undergo testing. Such figures usually provide a very limited amount of data for analysis.

To pay attention to the cases of the installation of mechanical parts in the body of the “animal” - placing the animal on a pedestal, tractor or tank tracks, tripod; attachment to the head of the propeller, screw; installation of electric bulbs in the eye, in the body and limbs of the animal - handles, keys and antennas. This is observed more often in patients with schizophrenia and deep schizoids.

11) Creative opportunities

These are usually expressed by the number of elements combined in the figure: banality, lack of creativity take the form of a “ready”, existing animal (people, horses, dogs, pigs, fish) to which a “ready” existing detail is attached so that the painted animal becomes non-existent - a cat with wings, fish with feathers, dog with flippers, etc. Originality is expressed in the form of building a shape from elements, rather than whole blanks.

12) Name

It can express a rational connection of semantic parts (a flying hare, “runcock”, “fly fly”, etc.). Another option is word-formation with a book-scientific, sometimes Latin suffix or ending (“ratoletius”, etc.). The first is rationality, a specific setting for orientation and adaptation; the second is demonstrativeness, aimed mainly at demonstrating one’s own mind, erudition, knowledge. There are names surface-sound without any understanding (“lilye”, “lioshana”, “grateker”, etc.), signifying a frivolous attitude towards others, inability to take into account the danger signal, the presence of affective criteria in the basis of thinking, the preponderance of aesthetic elements in judgments over rational.

There are observed ironically-humorous names (“rhinoturka”, “bubble”, etc.) - with, respectively, an ironically-indulgent attitude towards others. Infantile names usually have repetitive elements (“true-true”, “any person”, “couscous”, etc.). The tendency to fantasize (often of a protective order) is usually expressed by elongated names (“aberosyno-tarylron”, “hulobarniklet-myeshinia”, etc.).

Subject # 1. Interpretation.

The subject is a student.

Age - 19 years.

Female gender.

The date is February 23, 2016.

1) The drawing is located at the bottom of the sheet (horizontally) and indicates a low self-esteem, uncertainty, depression, lack of interest in its position in society, also indicates the absence of a tendency to self-affirmation.

2) The head of the animal is turned slightly to the right, looks at the drawing. Speaks about the tendency to reflection and reflection, as well as the egocentrism of the subject.

Big ears can mean the subject's interest in the incoming information, as well as the high importance of the opinions of others.

The animal’s mouth in the mouth speaks of the subject’s fearfulness and anxiety for some reason.

The presence of eyelashes reveals hysterical and demonstrative patterns of behavior, interest in the admiration of others in appearance and manner of dressing beautifully.

A long nose can report some kind of protective barrier, or, conversely, aggressiveness towards people around.

3) Details of the body. The animal has unusual details in the form of some feathers or fur along the body. The presence of such speaks about the energy of coverage of various areas of human activity, about the subject's self-confidence, curiosity, the desire to participate as much as possible in a greater number of affairs of others, as well as the desire to take a place "under the sun." May indicate a demonstrative model of behavior, mannerism, propensity to draw attention to themselves. However, attention should be paid to the fact that these details surround the body of the animal, which may also indicate that the subject puts a certain barrier protecting him from others, a non-differential danger from the outside. Or about the subject's readiness for self-defense, for example, in conflict, activity and in defending one’s opinion.

There is a strong pressure in the ear with a pencil, which indicates the anxiety of the subject about the opinions of others about him, as mentioned earlier.

Animal whiskers also confirm a tendency toward general anxiety.

The likeness of an animal to a man (straight walking) speaks of infantilism and emotional immaturity.

The trend of the drawing circle, as indicated by the direction of the animal's hands, indicates the respondent's secrecy, the closeness of his inner world from others.

Subject # 2. Interpretation.

The subject is a student.

Age - 20 years.

Female gender.

The date is February 23, 2016.

1) The position of the picture closer to the upper edge of the sheet (the direction of the body and head of the animal to the top) is interpreted as high self-esteem, dissatisfaction with its position in society, lack of recognition from others, as a claim for promotion and recognition, a tendency to self-affirmation.

2) The position of the head on the beholder is interpreted as egocentrism.

Non-drawn irises of the eyes or their absence in this case in the figure indicates that the subject does not show signs of general anxiety.

There are additional details on the head of the animal - a fluffy two-color mane. It can be interpreted ambiguously. On the one hand, the mane, wool, like hairstyles testify to sensuality, emphasizing one’s gender and sometimes orientation to one’s sexual role. However, in this picture it is sharp, disheveled and gloomy relative to other colors of the animal, which may indicate a tendency to protection or aggressiveness from others.

The presence of wool as such in an animal also has a different interpretation, revealing the good nature and softness of the character of the subject.

3) Hidden parts of the legs and arms, or the lack thereof, reports the superficial judgments of the subject, frivolity in the conclusions and the groundlessness of the judgments, sometimes impulsiveness when making decisions.

The one-pointedness of the legs speaks about the conformity of judgments and attitudes in decision-making, their standard, banality.

Decorating details (in this case on the body of the animal) are an indicator of demonstrativeness, a tendency to attract the attention of others, mannerisms.

4) The tail of the animal is turned to the right, which indicates the attitude of the subject to his actions and behavior. It may indicate that he is currently thinking about his actions and actions, evaluates the results of external manifestations.

The long and lush tail of the animal indicates that the subject is pleased with himself.

The elongated neck of the animal indicates a good control of the subject over himself.

5) The name of the animal is not muddled and folded from different names of existing words, which speaks of rationality, a specific setting for orientation and adaptation.

Subject # 3. Interpretation.

The subject is a student.

Age - 20 years.

Gender - male.

Date - 02/25/2016.

1) The position of the figure is in the middle, which allows to conclude that a person’s self-esteem is in the middle range.

2) The position of the head "full face", i.e. the head is aimed at drawing (on itself), interpreted as a person's egocentrism. There is no sharp drawing of the iris, which indicates that anxiety is not peculiar to a person for any reason.

The body is too large compared to the head, which means that the subject too appreciates the physical qualities, without giving special importance to the intellectual.

An un-painted mouth can say that a person does not like to talk or communicate much.

3) Superficial judgments, frivolity in conclusions and lack of reasonableness of judgments, sometimes impulsiveness of acceptance are said to be missing or almost absent legs, which, moreover, are weakly connected to the body - this is the nature of control over reasoning, conclusions, decisions. They are also interpreted as an indicator of the fragility of their position, their sense of irrelevance.

4) Some semblance of wings or hands, which can be seen in the drawing of this animal, indicates a high energy coverage of various areas of human activity, self-confidence, “self-propagation” with indelicate and indiscriminate oppression of others, or curiosity, desire to participate as much as possible. the number of cases of others, gaining a place in the sun, passion for their activities.

5) Signs of severe anxiety in the test is not observed, because There are no clear and strong fillings in the figure.

6) The figure of the circle symbolizes and expresses a tendency towards secrecy, closeness, closeness of his inner world, unwillingness to give information about himself to others, finally, unwillingness to be tested.

Summary:  Criteria for deciphering a non-existent animal pattern. Location on the sheet. Head or substitute elements. Eyes, mouth, ears. Additional details of the picture. The name of the animal.

If you are concerned about the "wrong" behavior of your child in the team, if he does not develop relationships with peers, let's check how serious your fears are with one of the projective techniques - "Drawing of a non-existent animal." What is the meaning of the methodology? It is known that when a child draws, he transfers, projects on the paper his inner world, the self-image. The psychologist can tell a lot about the mood, inclinations of the little artist, looking at his work. One test will not help us recreate an accurate psychological portrait, but we do not have such a goal. Now it is important for us to understand whether the child has problems in relations with the outside world.

You will need: a standard sheet of white or cream paper and a simple pencil of medium hardness. Markers and pens can not be used, soft pencils are also undesirable.

Instructions for the child: to invent and draw a non-existent animal and call it a non-existent name.

Explain to the child that the animal should be invented by him, and enthrall him with this task - to create such a creature that no one has invented before him. This should not be a character from cartoons, computer games or fairy tales that has already been seen. After the drawing is ready, ask the artist about the creature that he succeeded. We need to find out the gender, age, size, purpose of unusual organs, if they exist; ask if he has relatives and in what relations he has with them, whether he has a family, and who he is in the family, what he loves and is afraid of, what character he has.

The person being tested unconsciously identifies himself with a drawing, transfers his qualities and his role in society to the depicted creature. Sometimes children talk from the face of the animal about their problems. But this does not always carry enough information and depends on the child’s ability to analyze his inner world. For us, it is important to understand how it is adapted in the team.

We will use special criteria for deciphering the picture, which I tested in practice for 12 years of constant work with "problem" children. So, what you should pay attention to.

Location on the sheet

Normally, the picture is located on the center line of the sheet or slightly higher and to the right. The location of the picture closer to the upper edge indicates a high self-esteem and level of pretensions, which, as the child feels, are not fully realized. It is important to understand that the higher the drawing is, the stronger the child’s feeling of dissatisfaction with their position in society, the need for recognition and self-affirmation. He believes that he deserves more and can be worried because he was underestimated.

The lower the picture, the lower the child’s self-esteem. Self-doubt, indecision, lack of desire for self-affirmation - this is what is characteristic of such an artist. A child remembers failures for a long time and may refuse to take action altogether if he is not sure of a positive result. He focuses on the obstacles to the satisfaction of his needs.

Shifting the picture to the right indicates a desire for self-control, extraversion. The stronger the drawing goes to the right, the stronger the "rebelliousness" in relation to something important for the drawing.

If the picture is located in the upper right corner, we can say that the child most likely claims leadership and is in conflict with someone from other applicants for this role or has opposed to the already existing "ruling". In this case, parents, teachers, and children who enjoy the full recognition and authority of the rest of the collective can be “ruling”.

Shifting the picture to the left may express social inactivity, shyness, introversion.

According to my observations, these patterns may not work if the picture goes beyond the edge of the sheet.

We consider the layout of the picture in such detail precisely because it is now important for us to understand the position of the child in society and his assessment of his position. Sign of maladjustment - dissatisfaction with their role in the team, and this should be paid special attention. Since the location of the picture is only one of the criteria, in the process of analysis our assumptions will be refined or even changed. Therefore, we continue to consider drawing.

Head or substitute elements

This is the central semantic part of the figure. If it is turned to the right, then the artist has a high sense of purpose and activity, which adults sometimes take for excessive stubbornness. It is important to understand that his plans are realistic and feasible, and not to interfere, but to help the child set goals and achieve results.

Turning the head to the left characterizes the person being tested as a person inclined to thinking, fantasizing, his dreams often exist only in his imagination and are not realized in reality. Perhaps this is just a temperament, but such a situation may arise under the fear of failure, which leads to a loss of activity, so you need to pay attention to this.

The image with the head in the full-face position indicates the presence of egocentrism or lack of control in behavior.

If the head is much larger in size than the body, perhaps the child appreciates the intellectual qualities in himself and those around him.

Eyes

Large, with clearly traced iris eyes can mean that the child is tormented by constant fear.

Drawing eyelashes - an indicator of interest in the admiration of others, the universal recognition of its attractiveness.

Mouth

The toothy creature is painted by children who are characterized by protective verbal aggression. Their rudeness should be perceived as a way of self-defense from the attacks of others.
   Language denotes the need for speech activity, the authors of such a creature are big talkers.
   An open mouth without drawing the lips and tongue, especially shaded, shaded is a sign of readiness to be frightened, such children are often suspicious and cautious.

Ears

If they are, it is a sign that the opinion and information of others about him is important to the child. The more ears, the more attention the child pays to what they think and say about him.

Additional details

Horns - protection from aggression. In combination with claws and bristles - spontaneous aggression or protective-response aggression.

Feathers - the desire for self-assertion, self-justification, demonstrativeness.

Mane, wool, like hair  - sensitivity.

Paws of the animal, pedestal, support, and the like should be assessed in form and proportion to the entire figure. If the supporting part is solid, then the child has rationality, a tendency to make well-considered decisions based on existing information. He has his own opinion, with which it is necessary to reckon, otherwise there will be a protest, which can be expressed both in direct and in latent form.

The image of the lightweight support part - small paws, for example, testifies to lightheadedness, impulsiveness, superficial judgment.

The method of connecting the support and the body itself speaks about the degree of control over their judgments and decisions. Accurate and careful connection - high level, careless and weak - a tendency to rash actions or uncertainty in their opinion.

It happens that a figure has parts that rise above the general outline of the drawing. These can be wings, additional limbs, tentacles, details of armor, feathers ... They can serve as decoration or be utilitarian. Ask the child what they are for. If they are needed for some kind of animal activity, most likely, the person being tested is energetic, striving for self-affirmation. Decorative pieces are painted by children seeking to attract the attention of others.

Tail Reflects the child's self-esteem.

If it is turned to the left - we can judge the self-assessment of thoughts and decisions, to the right - actions and behavior.

The tail, raised up, means a positive self-esteem, vigor.

Downcast - dissatisfaction with oneself, self-doubt, regret about what was said and done.

Branched tails, several tails - dependence or inconsistency of self-esteem.

Two tails are turned to the sides and the animal has big ears - the child’s self-esteem strongly depends on the opinions of others.

Analyzing the contours of the figure, pay attention to the protrusions such as ribbed shell, spikes or growths and similar details. They reflect the features of the psychological protection of the child. The degree of aggressive protection is characterized by the presence of sharp protrusions and their orientation. Raised up, they say that the child is protected from people who have power over him and the ability to suppress, prohibit, restrict him in anything. It can be parents, older children, caregivers, teachers.

If the protective elements are directed downwards, this may mean that the child is afraid of being unrecognized, becoming an object of ridicule, or is experiencing that he is already in this position, afraid of losing his authority with children.

Ledges on the sides are painted by children, waiting for danger from all sides in any situation and ready for protection.

Lines

A child with increased fatigue, extreme sensitivity, sleep disturbances and similar problems associated with reduced vitality, draws weak, arachnoid lines.

But greasy, with pressure, lines, hatching are not characteristic of energetic, but alarming children. Pay attention to what parts are made with special pressure to determine what exactly can be disturbing the child. But, of course, you need to take into account that if a child learns to draw in the studio or just enjoys it himself, the hatching will be present simply as an element of the drawing.

Other details

Unusual details - for example, mechanical objects embedded in a body - can be a sign of psychopathology or simply a manifestation of particular originality, as, incidentally, an echo of excessive enthusiasm for robots and science fiction.

Animal name

The name that the child assigned to his creation, carries information about the nature of the child.

The rational content of semantic parts — the flying hare, the jogging, and the like — speaks of the rational mindset of the child.

Word formation with the book-scientific, Latin ending - reptilius - expresses the desire to emphasize the level of its development, erudition.

Surface-sound, without any comprehension, the words speak of a frivolous attitude to the environment.

The ironic-humorous ones — the bubble-game, the pelmesh — expresses the same ironic-indulgent attitude to reality.

Repetitive elements — labor, labor, couscous — may indicate infantilism.

Excessively long names can give children who are prone to fantasy, which may have a protective character as a way of avoiding reality.

Now that you have analyzed all the details, write down all of them, look at the results and put them together. A full-fledged psychological portrait, as I have already said, it is impossible to compose with the help of one test, but it is the drawing technique, as far as my experience shows, that reveals the disadaptation of a child in society. Try to check your child, let it be a game for him, connect friends and relatives, just warn that the ability to draw in this matter is irrelevant and all testees can dream up.

Examples of the analysis of children's drawings

Figure number 1.

By location on the sheet (the picture is highly shifted upwards), we can conclude that the child is dissatisfied with his position in society, considers himself unrecognized, but claims to be recognized.

The head is turned to the left - it speaks of a penchant for reasoning, perhaps fear of active action, only a part of the ideas is realized.

Big ears - a big value of the information that he hears about himself. He attaches great importance to the opinion of others about himself.

Mouth with teeth - verbal aggression (snaps, defends itself in response to censure).

Legs - sufficient autonomy, control over their reasoning, conclusions.

Tail - quite a positive assessment of their actions.

The contour of the figure indicates that the child is protected from adults, and the claws on the paws indicate that he is protected from his peers. The nature of the lines indicates anxiety.

Figure number 2.

Picture of a quiet, closed girl, student of grade 5 Nadi S. Obedient, diligent in school, but she seems not to be in class.

By position on the sheet (bottom), we see that the child is unsure of himself, has low self-esteem, is depressed, is not interested in his social position, there is no tendency to self-affirmation.

The head is a tendency towards activity, that is, Nadia is a "man of action", but because of self-doubt, this does not manifest itself, but is suppressed.

Legs - since there are practically no independent decisions, it is difficult to control them. No opinion.

Tail - self-assessment depends on the situation.

Strong pressure - anxiety.

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